Guest Artists
Lancaster Art Vault represents a number of Guest and Gallery Wall Artists. These are artists who market and sell their work through Lancaster Art Vault but do not need studio space. Our Gallery Wall Artists rotate every 2 months so there is always something new to see at Lancaster Art Vault.
Cheryl Elmo is a contemporary portrait artist, a current member of the Salmagundi Club (NY), and a signature member of Pennsylvania and Baltimore Watercolor societies. After graduating from Millersville University with a Bachelor of Science degree in Art, Cheryl taught art in high school for six years, then moved into technology as a self-taught software engineer and technology strategist in a pharmaceutical company (GSK). At the same time, she built her art resume with exhibitions, solo and group shows. Cheryl exhibits in national and international exhibitions and her work can be found in public and private collections.
Artist Statement: My work is an examination of life, using portraiture of quiet moments to share thoughts and ideas about life. By developing a unique style through aqua-media on art panels, the paintings are reflections of observations, sharing stories through silent figural expressions, using tendrils of hair coiled in frustration, or eyes defined by colored thoughts. Each painting has a contemporary look reaching out to touch the viewer and engage imagination. My style is continuously evolving through dedication and experimentation, while seeking a connection into the human soul.
CHERYL ELMO
DAVID W. TIMOTHY
David W. Timothy is a New Jersey–based, self-taught queer fine art photographer whose work examines the body as a site of belief, repair, resistance, and desire. Born with a cleft palate and raised in the rural South, David grew up acutely aware of how bodies are marked, scrutinized, and “corrected.” Early experiences of physical difference and speech therapy shaped a lifelong sensitivity to otherness and the ways individuals negotiate visibility, shame, and agency through the body. As an adult, David lived and worked overseas for thirteen years, primarily with Southeast Asian and Bosnian refugees in the Philippines and Croatia, and later in Japan consulting with internationally based executives. These experiences deepened his engagement with displacement, cultural identity, and the lived realities of being socially, religiously, or politically marginalized. His photographic practice centers on how individuals assert sensuality, gender, and sexual identity through religious expression—using the body as canvas, ritual, and declaration. Through acts of adornment, piercing, and physical contortion, his collaborations interpret how one authors their own meaning into belief, gender, sensuality, and faith. In 2025, Timothy was awarded Best in Show at the Tyler Park Center of the Arts Member Exhibition (Richboro, PA) and received the Juror’s Award from Paul Murphy, Co-founder of Side Tracks Gallery, at Naked at the New Hope Arts Center (New Hope, PA).
Artist StatemenT: Provocative to some, evocative to others. My images capture people's lives, passions, and sensualities. Whether it's the fleeting expression of a stranger or the familiar presence of a former lover, each work reveals an inner vulnerability and strength. I invite you not just to look, but to feel—to breathe, savor, and connect with your own desires and emotions.
I've found that the true subject of my work is the interaction between the paint and the artist. The imagery in the work serves as the armature for the paint to be sculpted around. Paint shares a great deal with sculpture in that it wants to be pushed and dragged into shape until it creates not only the illusion of dimension, but an actual physical surface that tells it's own story. The mystery of why the art was made holds some interest to me, but the mystery of how the art was made is what keeps me looking indefinitely. I've begun to think that this is one of the truths of being a painter. A painting is not an image, but a physical record of how the material and the hand come together to create a personal account of the artist's world. When painting I always find myself falling back on three core interests. Light, atmosphere, and texture. Light helps establish composition. It creates paths and suggests movement. There is a fun balancing act of discovering what the light reveals and what is left obscured. Atmosphere suggests space. Representing deep space on a flat surface is always on my mind. I try to orchestrate colors and tones to create the sensation of depth and establish a mood. Texture is what brings each moment to life. Texture can be created both by the physical build up of paint on the surface and in an illusionistic way. I find it most rewarding when the physicality and the illusion are working together. When these elements work together the painting comes to life. Inch by inch it’s constantly changing. It reveals something new every moment. The painting offers endless opportunities for discovery.
JASON WARD
JEANINE PENNELL
I spent the first half of my life worrying about what other people thought. About me, about how I was living my life. The choices and mistakes I made. Then two things happened: I turned fifty and my mother died. And I stopped giving a damn. It’s about this time that I started to create my figures in clay. I did still care what my husband might think about these creepy and weird things I was making. So I remember saying to him: Don’t ask me what they are, because I don’t know yet. I didn’t want anyone’s opinion to affect what I was making. It was in this freedom that I began to fill the shelves of my studio with figures. We called them ‘my guys’ back then. I didn’t know what they were. What they all meant. Funny how that is. Slowly I began to realize they illustrated my everyday. My happy times and sad ones. Memories were captured in clay as they bubbled up from long forgotten places hidden deep in my mind. I began to understand my connection to the work. Once I did, stories began to occur to me. I began to write them down and to see more clearly the relationship between me and my work. And once I saw it, I couldn’t unsee it.
A Maryland native, Sandra resides in Baltimore, MD. She holds a BFA with honors from the University of Maryland, and is involved in many local arts organizations. Most recently, she began " Art Around Hampden", a monthly event to encourage her community to explore and support the arts in their neighborhood. Sandra also served as the Chairman of the Board of The Rittenhouse Square Fine Arts Show in Philadelphia, PA from 2016-2023, and recently rejoined the leadership team. You can find her work primarily at exhibits and galleries along the East Coast, as well as in international collections.
Artist Statement: Art was a means of communicating without speaking when I was young and painfully shy. Figurative elements have always found their way into my work, regardless of the subject matter. Maybe it's because for so long I struggled with body image. I was too tall, too skinny, too fat. I finally figured out that I don't have to play by the rules, that I don't have to listen to what is whispered in the ears of women everywhere. I discovered that I am amazing. I discovered I like myself. Layers of torn papers, drawings, and poems create visual interest and intrigue before the paint ever touches the boards. I make these vibrant pieces in the hope that they empower other women to see their own sense of beautiful.
SANDRA SEDMAK ENGEL
REBECCA W. CARPENTER
Rebecca W. Carpenter’s work examines transformation through the tension between fragility and endurance. Rooted in questions of visibility and erasure, her practice interrogates how certain bodies are permitted presence while others remain marginalized, constrained, or unseen. Engaging the female form as both subject and site, her work confronts inherited systems of gaze that have historically idealized, censored, and distorted women’s bodies. Carpenter photographs the figure within abandoned and deteriorating spaces, where softness meets decay and intimacy coexists with vastness. These environments function not as backdrops, but as psychological and physical thresholds—spaces that echo vulnerability, resilience, and the passage of time. The nude body appears as an unmediated presence, stripped of spectacle and presented as a vessel of endurance, autonomy, and lived experience. A prolonged period shaped by personal and familial illness marked a pivotal shift in Carpenter’s relationship to time, embodiment, and impermanence. Since then, her work has increasingly focused on metamorphosis and the pursuit of agency within constraint. Through light, texture, and the human form, Carpenter traces the quiet persistence of survival and renewal, inviting reflection on what it means to remain present within a world defined by contrast.
I am determined and committed to creating works that speak to the process as much as the final image. The inspirations and strong connections I feel while surrounding myself with nature usually helps to start the initial mark-making process. There is strong “growth” imagery throughout my work. This imagery of organic forms that are created during this process has become more and more intrinsically intuitive and has continued to evolve throughout this new found dedication to becoming a full-time painter. So many similarities I find between organic forms in our natural environment and the emotional as well as the physical human kind. I hope to present to the viewer a closer connection with nature by illuminating my many observations. Hopefully sparking some mystery and wonder. Most of my work is created using acrylics in combination with a variety of dry mediums, and I also enjoy using oil and cold wax medium.
ANGELA LAPIOLI
MARILYN FOX
Although I call them nonobjective paintings, there is often a connection in my work to certain concepts, such as nature, culture, and contemporary issues; these concepts are not expressed literally. They are expressed only in as much as these ideas turn over in my mind while working. As I continue to work on my art, I often engage in experimentation. This could be collaging an old drawing, print, or paper onto the work. I enjoy adding something unexpected, even to create a tension in the surface. For me, this tension keeps the art dynamic and interesting. For me, this tension keeps the art dynamic and interesting. My paintings are meant to be lived with. My paintings are meant to be lived with. Color, form, and engagement are my priorities.
Born in Brooklyn, NY, growing up in Queens, I now live in Kutztown, PA where I retain my studio. I graduated from Kutztown University with a Bachelor of Science degree in Art Education. My various employment in the arts after graduation included writing art reviews for the Reading Times, freelance work for several publications, volunteering with the Reading Re-development Authority as a member of their fine arts board. In 1998, I secured a full-time position as Gallery Director/Arts Coordinator at Penn State, Berks Count, curating exhibits and developing an acquisition program to increase the college’s permanent collection. I retired after 20 years. My work is in the collections of: The Lehigh Valley Hospital; Connective Energy; Bank of Pennsylvania; The Allentown School District; Integrated Art, Art Curator in Madison, Wisconsin – Health Care Facility, and with private collectors across the country, and internationally in Paris, France, London, UK and recently, Dusseldorf, Germany.
Steffany Minotti is a contemporary painter based in Lancaster, where she lives with her husband and three children. Balancing life as an artist, nurse, wife, and mother profoundly influences her practice. The rhythms of care, devotion, fatigue, and love are woven into each piece. Her painting style blends acrylic and mixed media layers, allowing texture, mark-making, and subtle imperfections to remain visible. Through her painting, She seeks to hold space for vulnerability—both her own and the viewer’s. Each piece is less about representation and more about holding a moment — the quiet, often unspoken moments of honesty and emotional authenticity. Deeply inspired by home décor and the power of color, Steffany’s subjects and palettes are often influenced by her own interior style. She believes the home is where vulnerability is most likely to surface—where people rest, unravel, and reveal who they truly are. With this in mind, she creates work meant to live within those intimate spaces, adding warmth, beauty, and emotional resonance to the homes it becomes part of.
STEFFANY MINOTTI
JON BOND
Berks County artist Jon Bond has forged an art career for more than fifty years. The gentle declivities surrounding his art studio in Kempton are dotted with Pennsylvania Dutch farmsteads, replete with fencerows, piles of fieldstones, and abandoned farm implements. These hills and valleys in the shadow of the Kittatinny Ridge are no better or worse than others, but they are the places Jon knows best. Jon’s work is often set in nature, and his muted palette brings forth mysterious elements, scenarios and objects with an almost dreamlike quality. Jon finds immeasurable subject matter that inspires his art in this part of Pennsylvania, and this exhibit at the Lancaster Art Vault features a selection of egg tempera paintings created over the past seven years.
Alana Beall, Anthony Wiker, Beth Rabinowitz, Cynda Valle, D.S. Ingram, Elaina Posey, Ethan Gross, Isiah Bates, Jane Palmer, Jennifer Dowell, Joe Jennings, John Cramer, Josiah Stoltzfus, Kelby Weaver, Kellie Pederson, Kelly Cottingham, Kyle Newkirk, Leah Yancoskie, Lee Shannon, Marisa Canino, Mark A. Dennis, Natalie Shope, Robert Young, Sam Yesko, Steve Fabian, Svetlana Koval, AND Tracy Male.
ALSO FEATURING THE WORK OF
25+ CALL SELECTED ARTISTS
