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Minás Konsolas was born in Greece and has lived in Baltimore since 1976, where he graduated from the Maryland Institute, College of Art. He is the former owner of Minás Gallery, an outlet for poetry, both visual and verbal. The gallery, one of Baltimore's alternative art spaces, was a gathering spot for artists, writers and performers for twenty-two years. He subsequently sold his business and now works full-time from his studio in Charles Village.
Konsolas has participated in two public mural projects for Baltimore City, in Greektown and at the Farmers' Market. His work has appeared in numerous literary journals, including Little Patuxent Review and Passager. His original artwork and reproductions are widely collected, locally, nationally and abroad.
Konsolas is known for employing a variety of artistic styles and techniques, which allows his work to continually evolve. His constant focus is how light interacts with color and form.
With the increasing awareness of the impact of human activities on the environment, the relationship of Architecture and Nature plays a major role as to how we see the future of our planet.
XActivism is how I describe the process of creating this body of my work. Form, light and color come together in harmony and balance for an ideal and sustainable coexistence. Let the visual dialogue on my canvases translate into words and actions in our every day routine. Enjoy!

Donald Depuydt is a printmaker living in Northern Virginia. He holds a Bachelor of Fine Arts Degree from Mankato State University, Mankato, MN.  Depuydt earned his Master of Fine Arts at Indiana University, Bloomington, IN, with a concentration in printmaking. 
Depuydt is an award winning artist whose work has been exhibited nationally.  Since 1992, Donald Depuydt has been a Professor of Fine Art at Northern Virginia Community College, Loudoun Campus.
All of his works in this exhibition are either an etching or an etching and lithograph combined. The two links below from the Metropolitan Museum of Art explain the process of both these techniques.Looking back at my work as I grow older, much of it seems to be about the passage of time and mortality. Not as something morbid but as a documentation of days passing in my life.
Working in etching and lithography, my images are process-driven. They evolve, in large part, from trial-and-error. I print my etching plates and litho stones in different sequences and different colors in order to allow the element of surprise and chance to move my images forward. I often rework the plates of earlier prints and incorporate them into new images. It’s another way to get the ball rolling; a way to start. It also provides a bit of history and a sense of evolution. It becomes a ritual.
By combining figurative and architectural references with intuitive mark-making I hope to strike a balance between control, structure, and spontaneity. I slowly build an image up, tear it down, and then build it up again many times. Things are working at their best when it becomes a dialogue between me and the plates or stones.
​Computer technology in the last twenty years is changing the definition of fine art prints. Traditional etchings and lithographs are becoming less common. I find fewer and fewer people have an understanding what an etching or lithograph is or how they are made. This is a shame. Most of the printing techniques I use have been around for hundreds of years. I find that connection to the past a beautiful thing.

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