Meet Gosha Ananchev, Operations Team and Sales Representative

I've been with the gallery since late 2023.  Fifteen years as a recording and performing musician has been my primary artistic output, though I find inspiration in broad-ranging creative pursuits like writing, drawing, collage, painting, photography, and video. My creative life is complemented by academic training in the social sciences (BA Geography, minor Anthropology 2012, MA Geography 2016). I'm most excited by the experimentation and social energies of modernist artists of the late 19th and early 20th centuries – the work of af Klint, Malevich, and Kandinsky is an important foundation for my taste.

Michael Patterson "Two Friends"

When we received a new batch of Michael Patterson’s work for his show late last year, the painting “Two Friends” immediately grabbed me. I felt an intuitive connection with the scene, the two friends, the colors, the shapes, the light. One of my favorite feelings when interacting with artwork is this spontaneous relationship that can emerge before you even spend time thinking about it. A soft intimacy permeates the painting. Not only through the bodies of the two friends, but through the inherent softness of water and wetness. Two friends, one feminine looking towards us and the other more ambiguous looking away, wade in water producing concentric ripples. The ripples provide the viewer a sense of outward movement — how else does a ripple exist if not in motion? 

Visually, the painting is simple, almost minimal. There are 4 elements to this painting: the rocks, the people, the water, and the light source, out of frame. We infer that the sun (or a very full moon?) is high above and behind them, casting the shadow down directly towards the viewer. We’re also viewing the scene at an interesting, maybe even unconventional, angle. Because of our tendency to view landscape painting from a softer angle, this sharper angle alters our common sense of orientation and allows for multiple perspectives from which to receive the images. One perspective sees neither horizon nor sky, the surface of the water dominates the view. We are lifted up and looking down, almost floating above the scene. Another, probably less common, perspective suggests we’re looking out into the sky, a green night sky perhaps with swirling galaxies and nebulas. 

There’s a strange warmth in this painting, despite the cool greens and purples. You can almost feel the friends glow and buzz from warmth. The dimensions of the painting are interesting too: the particular rectangle that makes the canvas frame is squeezed in from the sides, a narrow shape not often seen in landscape painting. Yet we don’t feel confined or hemmed in. The energetic effect of the illuminated ripples radiates outward and expands our sense of space. It could be the sky we’re looking at after all.

Andrew Portwood "Twilight Stage"

For me, the ideal abstract painting invites the viewer to spend time diving into its chaos and trying to make sense of something that perhaps has none. Abstraction has this interesting way of eliciting multiple visual interpretations, tapping into various dreams, symbols, and the viewer’s sub- and unconscious. It makes artwork infinitely bigger than just the image we see. Thoughts, memories, emotions all become part of the work. This generative, energetic quality of abstract painting is one of the most fun parts of interacting with art. Andrew Portwood’s “Twilight Stage” always spoke to me in this way. 

One of the main aspects that stand out to me is the sense of depth stimulated by the numerous layers present. The dynamic color palette activates the layers. We see warmth behind coolness. We can imagine sweet fragrances and a feeling similar to walking through mist. The broadstroke purples and blues, maybe abstracted flowers or fabric, frame a window to the horse and rider’s realm. Their hazy, dreamy world opens up outwardly and towards the top right corner of the painting, extending out beyond our purple window.We see a shadow cast behind the mounted horse, suggesting that the light source is coming from the viewer’s world — a dimensional bleedthrough of sorts. The horse is one of the world’s most symbolically charged animals — one of its primary symbols is that of the vehicle, for moving between spaces, planes, dimensions, states of consciousness. This association of the horse as an intermediary between worlds applies to our viewing of “Twilight Stage” which seems to be a doorway or opening onto another realm. Perhaps we are the rider.

Antwan Ramar “Fire in the Sky”

“Fire in the Sky” is a testament to the sky’s painterly capacity. How often do you find yourself awestruck by these ephemeral sky paintings we call sunset or sunrise? There’s a spiritual quality to each experience. What is it about them that is so evocative? This gorgeous, expressive sky brings to life an otherwise austere, rural American flatness. I’m reminded of long, contemplative drives returning home from a weekend away, thinking about the big things and the little things, the future and the past. Ramar’s subtle attention to light creates a simultaneous closeness and depth. Other senses are evoked – wetness, coolness. What meanings and memories might we associate with them? How might we view a landscape painting as we would an abstract one?

Dan McCaw “Sisters”

Dan McCaw has a distinctive style of abstraction that is also evident in his sons’ work, each in their own way. A slender silhouette often carries each painting. While it is expressionist at heart, “Sisters” hints at representation suggesting a scene with chairs, tables, walls, and two silhouettes. We can’t help but look for shapes we recognize. The clean lines resemble collage, as if some of the shapes were pasted on. Fabrics and textures come to mind: velvet, wood, leather, sheer. McCaw pays special attention to color harmonies. Do certain combinations of color evoke particular moods? Where does the color red take you? What do we imagine brought the sisters there to that room?

Meet Catherine Frisch, Social Media and Sales Representative

I’ve been a dedicated member of the LPW team for over a year now, and I’m currently pursuing my degree at the UWM Peck School of the Arts. I’m working towards a BA in Painting and Drawing, along with a minor in Art History. Art has always been a huge passion of mine, and I love exploring a variety of mediums such as oil paint, graphite, charcoal, and colored pencil. I’m particularly drawn to the Impressionism movement, natural landscapes, and still lives, and I’ve always admired Claude Monet’s work. 

John Waite - Park View Mosaics III
Park View Mosaics III holds a special place for me. Before I joined the LPW team, I visited the gallery with a friend and was immediately drawn to this piece. The atmosphere of the gallery was so warm and welcoming, and this painting really stood out to me. The colors, details, and overall mood reminded me of Monet’s work, and it has stayed with me ever since. I find it calming and deeply moving, and I always encourage others to spend some time with it to appreciate the peaceful energy it radiates.

Yana Movchan - Floral with Parrots
When I first unwrapped Yana Movchan’s Floral with Parrots, I was absolutely in awe. The intricate details in the flowers and the parrots' feathers took my breath away. I really admire the precision and attention to detail that Movchan puts into each piece, whether large or small. It’s a level of focus and artistry that resonates deeply with me.

Alfredo Palmero - Menina de Rayas
Alfredo Palmero’s Menina de Rayas has captivated me since the moment I saw it. It blends abstract and realistic influences in such a beautiful way. The fluid movement of the paint, especially in the skirt, reminds me of a fusion of Jackson Pollock’s energy and Renoir’s classical realism. The calm expression on the subject’s face evokes a sense of femininity and tranquility, making it a perfect example of how abstract and classical art can harmoniously coexist.

Steve Gerhartz - Evening at the Lake
Steve Gerhartz’s Evening at the Lake evokes such a peaceful connection to the Wisconsin landscape. The details of the Midwestern setting, especially the gentle waves and the rustling of leaves, transport me to a serene place, reminding me of my childhood. This piece captures the essence of changing seasons, and it makes me feel closer to nature and the tranquil environment where I grew up.

David Dunlop - Misty Pond
I’m also a big fan of David Dunlop’s Misty Pond. The similarities to Monet’s Water Lilies immediately draw me in, and the depth and texture of the piece make it even more captivating. Dunlop’s use of oil paint on aluminum gives the piece a luminous quality that captures light in such an extraordinary way. The subtle details, like the pink and orange highlights, invite me to explore the painting from different angles, letting the light shift and alter my perspective.

Meet Abigail CHristensen lopez, Sales Associate

I am an artist specializing in oil painting and mixed media art. My focus has been realism, primarily portraits. Now, I am expanding my horizons and experimenting with surrealism, abstraction, and even performance pieces. It has been a challenging but thoroughly fulfilling experience. The narrative of my artwork is driven by my journey and my perspective of the world, which is ever-changing. It is led by the hope for a better future for myself and those who view my work. My art is part of a healing journey, which can be very personal but hopefully a source of light to those who can relate to those narratives. 

Leya Evelyn: Things you need to know This painting draws you in through textures, collaging, and layered paint. This painting reveals inner thoughts, and questions we have about ourselves. At the surface level, this piece is what we see ourselves as. We are complicated, reflected by the moving brushwork and swirling bright colors on a dark surface. But as we look closer, we see ourselves as complex, deep creatures as shown by the collage and messages beneath. It is as if Leya wants us to find ourselves, revealing what we need to know below our surface.There are so many layers that you keep looking back. Every time we pass this piece, we see a new aspect of the painting. I wonder if I am being tricked into not seeing certain parts of the painting until I look again. It is as if we block out certain parts of the painting, to have it reveal itself later. 

Richard Whitten: Boite et JouJoux I find this artist's work boundless, both from a creative perspective and a technical standpoint. When I first look at it, I am shocked by how precise his details are, but I find myself drawn into the three-dimensional perspective that awakens your senses. My eyes constantly shift from the non-traditional shape of the piece. Without the conventional framing of a work, we are sent into a space that escorts our eyes around. We find ourselves watching the spheres as if we are watching a game. Or we are drawn into the farthest space, dragged into the hall. We are moved up or down the staircase, to the floors we cannot see. His work takes a whimsical and modern approach to represent technology and science. His unique approach to changing the perspective of painting surrealism makes us wonder if he has created a whole new world for us to view, or a glimpse inside his mind. 

David Allen Dunlop In "Characters in Search of an Author," Dunlop utilizes unconventional methods to create a depth of space in a field of wildflowers, so real that we find ourselves walking into the field. We even smell the sweetness of flowers and decay. His choice to use real and imperfect subject matter is unusual, but he reveals the beauty of the imperfection. Instead of highlighting a budding rose or blooming flower, we see the end of these flowers' lives. It is as if Dunlop is begging us to see the beauty of the entire life cycle, not just the beginning.The title he chose for this painting points us to the beauty of these "characters," of which he is the author now. He found the beauty in reality, which is not always perfect or considered "beautiful." But we see this painting and realize, he's right: there is beauty in these characters he chose to showcase in his "novel" (or painting). Dunlop chose decaying wildflower, a dying field as his subject matter. It is a real challenge and a gift to create beauty from the "imperfect." Dunlop is an artist who finds beauty in all nature.

Robin Wessman As an artist, this painting speaks to me. We see the painting of the simple and humble: the artist's tools. These are used to create some of the greatest artworks of all time but are rarely highlighted as the subject matter. This painting reveals the side of painting only artists see, unveiling the reality of art. It is a nod to a still-life while still connecting the dots between realism and surrealism in the most subtle way. There’s motion from the tools floating above the art box, while the box also hovers over the surface. It creates an atmosphere of wonder and curiosity. In this glorified way, this painting reveals the simplest tools or mediums that can create an unending stream of creative expression. It’s a painting for the artist.

Meet adele Kaferly, Sales Associate

My interest in art began when my mom took me to the Art Institute of Chicago as a child.  By age 13, I was allowed to take the train downtown by myself and spent many Saturdays in those spectacular galleries.  The first painting I can remember falling in love with was a huge canvas by Clyfford Still, “1951/52”.  It was mostly layers of black paint interrupted by a vertical white line and a thin streak of red-orange. It completely captivated me, and paved the way for me to appreciate Mark Rothko, Jackson Pollock and other Abstract Expressionists. The art my husband and I purchased had only one criteria: we both had to love it.  Quite a few were from our trips abroad, and over the years we filled the house with pieces that had special meaning for us.  In spite of my love of the abstract, most of our art is Figurative or Representational, many of which are oil pastels.  Now that I’m at Lily Pad Gallery, it’s a struggle to keep from buying more art - we don’t have any more room on the walls!

DAVID ALLEN DUNLOP - Characters in Search of an Author, 2024 I distinctly remember the first time I saw this painting. It was being carried into the gallery and it actually took my breath away. It was as if I could walk right into it and lose myself. Dunlop uses a combination of both old world and modern techniques to create truly masterful works of art. This particular piece actually glows from within, in part due to his using aluminum as a “canvas.” 

PETER BATCHELDER - Autumn Hay, 2024 I’ve always admired Claude Monet and the Impressionists, and for me, this piece by Batchelder captures that essence. While his use of a vibrant color palette brings a very real dynamic to the painting, the natural setting is both peaceful and exciting. The realistic forms of the haystacks, the way they draw the eye towards the horizon, and the amazing bright colors, create a tension you can feel. 

SAMIR SAMMOUN - Wild Beauty V, 2022 Sammoun was raised in Lebanon and his Mediterranean heritage informs his paintings. I particularly like this landscape for the muted colors and broad brushstrokes, giving a sense of movement in a wild space. His use of thick paint to create dimension in this impressionist painting also gives it a dynamic quality.

Meet Julia Taylor, Executive Director

While some people grew up singing, I grew up drawing, always seeing myself as an artist. In high school, I sketched portraits at the county fair and created illustrations for the local newspaper. I began college as an art major but eventually changed paths after struggling with design courses. My career led me to become a non-profit executive, and I later spent 20 years leading a business CEO leadership agency before retiring.Through it all, I never stopped creating—first drawing, then painting in watercolor and oil. A year ago, gallery owner Alan Perlstein invited me to step out of retirement to manage the gallery. Now, I’m not retired—I’m rewired for a new chapter, managing a wonderful space filled with incredible art. The team is fantastic, and the best part is collaborating with our artists and clients. The gallery radiates joy, and somehow, its art often finds its way into our home!

Choosing just a few paintings was very difficult. The paintings I chose demonstrate a unique experimentation and time in the life journey of the artist. 

In “Quiet Splendor” by Antwan Ramar, the interplay of warm and cool light on the striped lamps and the mysterious surface of the mirror creates a captivating balance between reality and abstraction. The bold swipe of color cleverly unifies the composition, highlighting the parallel structures within the intimate AirBnB setting. When Antwan brought this unusual painting into the gallery, I was captivated by it. He expertly mastered the light and composition, transforming an ordinary scene into a stunning painting.

H.M. Saffer’s Hidden Valley draws from his early artistic studies in Japan, showcasing the zig-zag composition layered perspective and the meticulous depiction of natural elements like clouds in a traditional Asian aesthetic. The subtle inclusion of his signature “chop” lends cultural and personal depth to the work. While studying in Japan, H.M. adapted his Sumi-e techniques by applying Western styles of painting. His style of painting shifted from exclusively works on paper to include oils. He began melding his Oriental influences with his Western styles in order to create new and different path towards interpersonal visual expression.

Liz Gribin’s Abstract Elements employs a muted color palette and fragmented forms to convey the stillness and introspection of her convalescing son, David. He had a freak equestrian accident and was in a nine month long coma. For a year, Liz did not paint and then decided that painting could be the best therapy for her and David. He sat for her and listened to audio books as she painted and they both found their way back.  Her use of line and abstracted shapes balances representation and abstraction, inviting viewers to interpret the strong emotion within the piece. 

I love the landscape of northern Wisconsin from the sea caves of Door County, the rise and fall of the land in the driftless area to the bogs, bluffs and tombolos of the Apostle Islands archipelago. Marc Anderson’s “Tickle Me Pink, Madeline Island” captures the ethereal beauty and solitude of the cliffs of Lake Superior, shaped by eons of water and weather.The soft pink and orange hues of the golden hour reflect on the calm waters, seamlessly blending the elements of earth and sky. The painting evokes a sense of peace and timelessness, highlighting the cliffs carved by water and the vibrant colors shaped by nature’s enduring transformations. Marc often paints the scenes of northern Wisconsin and this painting is uniquely striking in its depth of color and emotion of place.

I've always loved Alfredo Palmero's Meninas series and ties to Velasquez and contemporary artists.  Alfredo Palmero's El Hada has the same beauty and presence with a very different subject. El Hada merges realism with an enigmatic, almost surreal quality. The title, meaning The Fairy, invites a reimagining of the figure—not as a traditional fairy, but as a symbol of quiet strength and mystery. Her poised, solemn expression contrasts with whimsical folklore depictions, drawing the viewer into introspection. The mosaic-patterned sphere in the foreground adds intrigue—perhaps a mystical artifact, a symbol of knowledge, or a nod to childhood imagination. Its presence, paired with her contemplative posture, deepens the painting’s sense of ambiguity and meaning.