Steven Baris | Drift C2

Steven Baris | Drift C2

36 x 36 inches / 91.5 x 91.5 cm, oil on plexiglass, 2015

Cecilia Biagini | Entre el Vacio y el Sentido

Cecilia Biagini | Entre el Vacio y el Sentido

15 x 18 x 2 inches / 38.1 x 45.72 x 5.08 cm, acrylic paint and silver leaf on wood, 2016

Anthony DeMelas | Doug's Land

Anthony DeMelas | Doug's Land

8 x 67 inches, 20.32 x 170.18 cm, galkyd oil on chromogenic prints, 2013

Tim Eads | Component Spiro #11

Tim Eads | Component Spiro #11

30 inches dia. / 76 cm dia., IQ ink on aluminum, edition 1 of 5, 2014

Simeen Farhat | I Hear My Name

Simeen Farhat | I Hear My Name

19 x 27 x 9 inches / 48 x 68.5 x 23 cm, pigmented & cast resin, 2014

Kevin Finklea |Black Dog 2

Kevin Finklea |Black Dog 2

24 x 34.5 x 3 inches / 61 x 87.5 x 8 cm, acrylic on laminated poplar, 2015

Kiki Gaffney | Untitled

Kiki Gaffney | Untitled

30 x 22.5 inches, 76.2 x 57.15 cm, acrylic and graphite on paper, 2010

Judy Gelles | Italy: Public School  (Boy) / (Girl)

Judy Gelles | Italy: Public School (Boy) / (Girl)

40 x 30 inches / 101.6 x 76.2 cm, archival pigment print, edition 1/3, 2012

Mark Khaisman | Serapi Rug 3 Diptich

Mark Khaisman | Serapi Rug 3 Diptich

Various Sizes, aluminum dust on clear adhesive tape, light box, 2016

Donald Martiny | Untitled (Red)

Donald Martiny | Untitled (Red)

17 x 22 inches, 43.18 x 55.88 cm, polymer & dispersed pigment on aluminum, 2016

Franco Mueller | Landscape 7

Franco Mueller | Landscape 7

16.5 x 23.5 inches / 42 x 59 cm, acrylic, charcoal on paper, 2014

Osvalso Romberg | Lost Suprematism #2

Osvalso Romberg | Lost Suprematism #2

9 x 5.25 x 5 inches / 23 x 13 x 12.5 cm, mixed media on paper, 2014

Jackie Tileston | The Problem of Distinctions

Jackie Tileston | The Problem of Distinctions

66 x 60 inches / 168 x 152 cm, oil, mixed media on linen, 2015

Derrick Velasquez | Untitled 134

Derrick Velasquez | Untitled 134

37 x 35 x 1,5 inches / 94 x 89 x 3.5 cm, marine vinyl, wood, 2016

36 x 36 inches / 91.5 x 91.5 cm, oil on plexiglass, 201515 x 18 x 2 inches / 38.1 x 45.72 x 5.08 cm, acrylic paint and silver leaf on wood, 20168 x 67 inches, 20.32 x 170.18 cm, galkyd oil on chromogenic prints, 201330 inches dia. / 76 cm dia., IQ ink on aluminum, edition 1 of 5, 201419 x 27 x 9 inches / 48 x 68.5 x 23 cm, pigmented & cast resin, 201424 x 34.5 x 3 inches / 61 x 87.5 x 8 cm, acrylic on laminated poplar, 201530 x 22.5 inches, 76.2 x 57.15 cm, acrylic and graphite on paper,
201040 x 30 inches / 101.6 x 76.2 cm, archival pigment print, edition 1/3, 2012Various Sizes, aluminum dust on clear adhesive tape, light box, 201617 x 22 inches, 43.18 x 55.88 cm, polymer & dispersed pigment on aluminum, 201616.5 x 23.5 inches / 42 x 59 cm, acrylic, charcoal on paper, 20149 x 5.25 x 5 inches / 23 x 13 x 12.5 cm, mixed media on paper, 201466 x 60 inches / 168 x 152 cm, oil, mixed media on linen, 201537 x 35 x 1,5 inches / 94 x 89 x 3.5 cm, marine vinyl, wood, 2016


JUNE 3 – JULY 16, 2016


Artist Reception
Friday, June 3, 5:00 – 8:00 PM



Pentimenti Gallery is pleased to present SUMMER FLASH, a group exhibition featuring works by a selection of artists represented by the gallery. The works share an affinity for acute draftsmanship in a wide range of materials (graphite, acrylic, oil, gouache, polymer, archival pigment print, marine vinyl). In some, a sense of realism, or depictions of nature; while others, focus on simplicity of forms or intricate visual structures and patterns.


Steven Baris is interested in spaces that are designed to be placeless —most recently, massive horizontal structures variously called distribution centers or logistics centers. Through his focus on space, Baris makes sense of his own biography—he grew up on American Indian territories and later moved to the most built-up area in the continent.

Steven Baris received his MFA from Tyler School of Art in Philadelphia. He studied at the Evergreen State College in Olympia and at Instituto Allende, San Miguel de Allende in Mexico. Baris has exhibited widely in the United States and internationally, in institutions: the Delaware Center for the Contemporary Arts, Wilmington, DE; Woodmere Art Museum, Philadelphia, PA; Visual Arts Center of New Jersey, Summit, NJ; Atelierhof Kreuzberg, Berlin, Germany; INTERNATIONAL BIENNIAL OF NON OBJECTIVE ART, Pont de Claix, France; Kunstlerhaus Dosenfabrik, Hamburg, Germany; Abington Art Center, Abington, PA; Carnegie Mellon University Art Gallery, Pittsburgh, PA; The Drawing Center, New York, NY, and more. Permanent collections which hold works by the artist include: Canon USA Inc.; Coventry First Insurance Company; HayGroup; Iroko Pharmaceuticals, LLC; Progressive Insurance Company; Texas Tech University; Wilmington Trust; and more. Work included in numerous private collections in North America, Europe and Australia.


Cecilia Biagini’s work at times refers and alludes to musical and rhythmic waves, pseudo-scientific models/diagrams and is always anchored in the purity of the medium itself. It manifests and metamorphoses a randomly controlled color synthesis that vividly harmonizes rhythm. The base curiosity remains inside an abstract model where an intuitive poetic field seeks a path of engagement and purely visual ideas can converge, convey and be defined through internalized individual truths that acknowledge the uniqueness of experience and singular consciousness.

Cecilia Biagini studied painting with Guillermo Kuitca in Buenos Aires and attended the University for sociology. Her artwork has been exhibited internationally: The Hunterdon Museum of Art in New Jersey; Contemporary Art Museum in Baltimore, MD; Rupert Ravens Contemporary in Newark; Istituto Cervantes in Rome; C. C. Recoleta in Buenos Aires; Fundacion Proa in Buenos Aires; The MACBA in Buenos Aires; among others. Biagini’s works are in the permanent collections of Buenos Aires Museum of Contemporary Art, Buenos Aires, Argentina; The University of Texas, San Antonio, TX; The New York Public Library, New York, NY; The Department of Homeland Security in Washington D.C.; in private and corporate collections.


Anthony DeMelas’s work is about the process of exploring overlooked glimpses of visual reflections that coexist all around us. His conceptual process and inspiration are always in flux. Through his works, DeMelas reanimates fragments of his life. A look at his painting is like a tour through a fast-moving story.

Anthony DeMelas graduated from the Pennsylvania Academy of Fine Art in Philadelphia. He is a recipient of several awards and honors two of which are The Lewis S. Ware Memorial Travel Scholarship Award and The Pennsylvania Governor’s Award. He has also exhibited extensively throughout the United States. His work has been purchased for multiple public collections including Time Warner, New York, NY; Thomas Properties Group Inc., Philadelphia, PA; Deloitte Inc., Philadelphia, PA; Fork Restaurant, Philadelphia, PA; Blank & Rome, New York, NY as well as numerous private collections. His commissions include James Ingram, Grammy Award-winning American singer, Los Angeles, CA.


Eads’ states, “Our capacity and desire to experience wonder is usually buried by daily life. I want to create opportunities to reconnect with that sense of wonder, of surprise. I use intricate designs, unusual sounds and wacky construction to encourage moments of beauty or meaning inside a funhouse of playful creativity.”

Tim Eads has exhibited across the United States with notable shows at the Delaware Center for Contemporary Art; Museum of New Art in Detroit; and Sam Houston State University in Texas. Eads is the recipient of numerous awards and honors including the Weston A. Price Foundation Grant; Recycled Artist-in-Residency (RAIR) in Philadelphia and the Please Touch Museum Residency, also in Philadelphia. He is a visiting lecturer at Moore College of Art and Design and his work is found in several public collections: the West Collection, Oaks, PA; Kirkland Museum of Decorative Arts, Denver, CO and the Please Touch Museum in Philadelphia, PA. Eads’ received his MFA from Cranbrook Academy of Art in 2009, and is BFA from Texas Tech University in 2000.


With words borrowed from English poetry, expressing logic and philosophy, Farhat’s sculptures are a unique mixture of visual art and literature.  Each piece is constructed with urethane cast-resin and intertwined into forms with undeniable rhythmic and directional force. Their bright colors, drawn from the iris of human eye and intricate shapes swirl and weave into one another, while the meaning of individual letters and words deepen the visually explosive sculptures with literary and cultural significance.

Simeen Farhat exhibited in 2015 at the Venice Biennale in Venice, Italy. She exhibited nationally and internationally, including recent shows in the National Art Gallery, Islamabad, Pakistan; Sharjah Museum of Modern Art, UAE; Watermill Center, Hamptons, USA; American Center, New Delhi, India; VOLTA NY, New York, USA; La Fontaine Contemporary Art Center, Bahrain; Contemporary Istanbul, Turkey; and more.  Farhat is also the recipient of numerous awards and honors including the Oryx Foundation Artists in Residence, Switzerland; the Xerxes Artist Residency, Hampshire, UK; Prix Arte / Slick, Paris, France and the Clay Fellowship Residency, Rosendale, NY.


Kevin Finklea’s wooden works are created with the purpose of persevering the fleeting human impulse and convictions and ignoring all sense of memory and time. By using excess materials from previous works, Finklea makes things that are verifiable and tactile, ignoring narratives and part histories in the present, and creating pieces with a fresh directness.

Kevin Finklea graduated at Tyler School of Art in Philadelphia (BA). His past exhibitions are: Woodmere Art Museum, Philadelphia, PA; 37PK Platform for the Arts, Haarlem, Holland; 2nd Biennial of Non-Objective Art, Pont de Claix, France; Paris Concret, Paris, France; Emma Hill Fine Art, the Eagle Gallery, London, England; Zeitgeist Gallery, Nashville, TN; Reuten Galerie, Amsterdam, Holland. His works are found in private and in selected public collections: museum of the Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Bridgepoint Capital Limited, London, England; Wilmington Trust Fund, New York.


Kiki Gaffney is drawn to patterns associated with delicacy and beauty taken from objects and ornaments. These images are ingrained in our lives to the point to be unnoticeable. In some respects, Gaffney compares sequences and patterns to sense of stability that we all may look for in our lives.

Kiki Gaffney graduated at Loyola College, Baltimore, (BA) and at the University of the Arts, Philadelphia, (MFA). Gaffney exhibited at: the Woodmere Art Museum, Germantown PA; Delaware Art Museum, Wilmington, DE; Chriutys Art Center, Sag Harbor, NY; Globe dye Works, Philadelphia, PA; Immaculata University, Immaculata, PA and more. In 2014, 2012 and 2010, a residency at Virginia Center for the Creative Arts, Amherst, VA. Her works are in various public and private collections.


Judy Gelles, has traveled to find her subjects, fourth-grade students in schools across the world from India and Italy to South Korea and the United States. The portraits are remarkably well seen, minimal in their use of props, and a salutary celebration of things as they are. In each, Gelles asked the kids “what they wish for and what they worry about.” The clarity of the project is beguiling.

Judy Gelles has received her MFA in Photography from Rhode Island School of Design. Gelles has exhibited her work at the Delaware Art Museum, Wilmington, DE; Irish Museum of Modern Art, Dublin, Ireland; Photo Center NW, Seattle, WA; Skirball Cultural Center, Los Angeles, CA. She has been awarded the CENTER Award, Second Prize “Curator’s Choice” (2016); First Prize, Prix de la Photgraphie Paris (2013); the Main Line Art Center, Haverford, PA (2011); the William Penn Foundation Grant, Philadelphia, PA (2010) and the Fleisher Challenge Artist (2007). Her most recent sponsorship comes from the Lomax Family Foundation Grant (2012). Judy Gelles is also in the collection of The Museum of Modern Art in New York and Rio de Janeiro, Brazil; the Philadelphia Museum of Art, Philadelphia, PA; Brooklyn Museum of Art, Brooklyn, NY; Danforth Museum of Art, Framingham, MA; Harvard University Fine Arts Library, Cambridge, MA; Irish Museum of Modern Art, Dublin, Ireland; Los Angeles County Museum of Art, Los Angeles, CA; among many others.


Khaisman’s images are reinterpreted as pixelated fields, and presented in a way that questions the viewer’s perception of the familiar. The effect is reached by shifting levels of familiarity from the familiar-as-image to the familiar-as-experience-of-material. Using a variety of adhesive tapes Khaisman creates images, which reveal their process and become parallel stories of how the images were made. He describes his process as “chaos management” pointing out the resemblance of his studio practice to a scientific lab experiment. His attention to production suggests that his work is as much about the physical make-up of images as it is about their content.

Born in Kiev, Khaisman studied Art and Architecture at the Moscow Architectural Institute, Moscow, Russia. His recent exhibitions are:  Queens Museum of Art, Queens, NY; Visual Art Center of New Jersey, Summit, NJ; Wallingford Art Center; Woodmere Art Museum, Philadelphia, PA; Vitra Design Museum, Weil am Rhein, Germany; BYU Museum of Art, Proto, UT; and more. He has been the recipient of many awards and works are found in the collections of: Brandywine Trust Collection, Philadelphia; British Airline Collection, London; Delaware Art Museum, Wilmington; NBC Collection, New York; Vitra Design Museum, Weil am Rhein, Germany; West Collection, Philadelphia, and more. He has also appeared in the following publications: Art’sVice France, FLUSH magazine, The Huffington Post, The VOICE, Philadelphia Magazine, WIRED,, and many more.


Each painting possesses a great deal of activity, a humanity that Donald is in tune with. “I want to put the human experience into it. In a sense they are self portraits, a direct reflection of my physicality at a specific time”. Using dispersed pigments and polymer, with the occasional addition of micro bubbles to lighten their physical weight, the materials he uses speak to painting in an age of technological Innovation. Donald’s work raises an awareness of what it is to be a painting, and the value of one against the whole. They also challenge us to consider how one interacts with their surroundings, and what it means to “move”.

Donald Martiny studied at the School of Visual Arts, NY; The Art Students League of New York, New York University, and the Pennsylvania Academy of Fine Arts in Philadelphia, PA. Donald has exhibited throughout the United States and internationally, including the following museum shows: The Courtauld Institute of Art, London, UK; Fort Wayne Museum of Art, IN; CAM / Contemporary Art Museum of Raleigh, NC and Cameron Art Museum, Wilmington, NC. He was awarded the 2015 Sam & Adele Golden Foundation for the Arts Residency Grant and the 2014 Dave Brown Projects – Award. His most recent commissions was installed at the One World Trade Center in New York in 2015. His paintings can be found in private collections in the United States, Europe, Asia, Australia and the Middle East.


Playing with light generates curious optics in the pictorial space. Lines of objects disappearing in the background draw the eye of the observer into the distance. It is as if the pictorial space could be entered. Yet, suddenly, the horizon disappears in a diffuse haze. At the same time a brilliant light source seems to emanate from this haze and illuminate the surrounding objects. Looking more closely, we find a different source of light, illuminating the scene from the side. This multifarious illumination irritates. Are the architectural bodies really three dimensional?

Franco Mueller is a self-taught artist. He exhibited extensively in Switzerland, France, Germany, the United States and his works are included in the collections of: Vanguard Group; Blank & Rome; Deloitte Inc.; Bank of Montreal and more, as well as private collections. He is the recipient of many awards and honors: Paul Zuppinger Prize; Malerei Kanton Solothurn Prize and Wekjahresbeitrag Kanton Solothurn in Switzerland.


Osvaldo Romberg’s work challenges and subverts abstraction into new cultural and personal frameworks. Romberg subtly hints to high modernist masters such as Mondrian and Malevich, utilizing their language of the grid, primary colors, and a structuralist approach. But, Romberg eventually allows gesture and excess to take over each piece. In the end, Modernist purity is contaminated, dirtied, in Romberg’s quest to: “break from all theoretical frameworks and thus invent a geometry that would be free from theory.”

Osvaldo Romberg is an Argentine artist, curator, and professor who lives and works in Philadelphia, New York, Tel Aviv and Ilha Grande, Brazil. He attended the National College of Buenos Aires and the University of Buenos Aires. His work is included in numerous museum collections including: Museo de Arte Moderno, Buenos Aires; MUHKA-Museum of Contemporary Art, Antwerp; Kunstmuseum, Bonn; Museo de Bellas Artes, Buenos Aires; Ludwig Museum, Cologne; Leopold-Hoesch Museum, Dueren; The Haifa Museum of Modern Art, Haifa; Sprengel Museum, Hannover; The Israel Museum, Jerusalem; California State University, University Library, Long Beach; Jewish Museum, New York; Museum of Modern Art, New York; Philadelphia Museum, Philadelphia; The Tel Aviv Museum, Tel Aviv; Museum Moderner Kunst, Vienna; Library of Congress, Washington, DC; ZKM Center for Art and Media, Karlsruhe, Germany; Brooklyn Museum, New York. He has had exhibitions at institutions including the Philadelphia Museum of Art (2011); Z.K.M., Karlsruhe (2009); Centro Cultural Recoleta (2008); the Museum of Modern Art, Buenos Aires (2007); Kunst Museum, Bonn, (2007); Museum of Modern Art, Saint Etienne (2005), and the Kunsthistorisches Museum, Vienna (1999).


“Painting has an ability to open up alternative visual experiences that can specifically align us with internal spaces, altered states of consciousness, euphoria, complexity, and the unpresentable.  Abstraction, especially, is an expert intermediary, translating the nonverbal and not quite visible realities into perceivable, material form. Paintings can function as runners between realms, physical and philosophical both.”

Jackie Tileston received her BFA from Yale University, New Haven,CT, and her MFA in painting from Indiana University, Bloomington, IN. Tileston has had exhibitions at the Discovery Museum, Bridgeport,CT; Contemporary Art Museum, Houston, TX; Schweinfurth Memorial Art Center, Auburn, NY; Rockland Center for the Arts, West Nyack,NY; The Rutgers University, Camden, NJ; and more. Her work is in collections including: JP Morgan Chase; Museum of Fine Arts in Houston; Dallas Museum of Art; West Virginia University Art Museum, and more. She has been awarded the Joan Mitchell Foundation 2011 Painters and Sculptors Grant. The 2006 John Simon Guggenheim Memorial Foundation Fellowship for Painting as well as many others.


Derrick Velasquez investigates tension and gravity.  His works challenge materials and it’s form. He attempts to “construct a language of structure that questions our physical and psychological interactions with industrially manufactured materials that exits in the spaces we inhabit”.

Derrick Velasquez received his BA from the University of California, Santa Barbara and his MFA from the Ohio State University. Velasquez has exhibited his works at the Boulder Museum of Contemporary Art, Boulder, CO; Drexel University, Pearlstein Gallery, Philadelphia, PA; VOLTA NY 2013; Center for Visual Art, Denver, CO; VAC University of Colorado, Boulder, CO; RedLine, Denver, CO, FOCA Biennial, New Mexico Museum of Art, Santa Fe, NM and Arvada Center for the Arts, Arvada, CO. He has been awarded by: Vertigo Art Space Artist Residency and RedLine Artist Residency in Denver, CO; Fergus Family Material Award, The Ohio State University. Derrick Velasquez is in the public collections of Wellington Management Company LLC,  Metropolitan State University of Denver and in numerous private collections.

GALLERY HOURS: Tuesday by appointment, Wednesday – Friday 11 AM to 5 PM, Saturday noon to 5 PM.

For further information, please contact Pentimenti Gallery at 215.625.9990 or

Pentimenti Gallery features content driven contemporary art which challenges traditional materials and aesthetics by a line of internationally established artists alongside young talent. For more information contact the gallery at +1(215) 625-9990,, or visit