Linda Brown

Linda Brown

A Southern California native, Linda grew up with equal passions for nature and art. Becoming a professional landscape artist was inevitable. Essentially self-taught in the basics of oil painting, she has been painting most of her life. She has worked relentlessly in the field and studio, as well as study with contemporary masters Ralph Oberg, Matt Smith, and Kathleen Dunphy, to perfect her craft.

Laura Wambsgans

Laura Wambsgans

Native Californian, Laura Wambsgans began landscape oil painting sixteen years ago, after working as the managing director of a major recording studio and then as a sculptor for two decades.  Between studying intensely with Scott Christensen, among well-respected landscape painters and painting daily, Wambsgans strives to capture the effect of light on the land, though color and paint quality.  Since 1986, Wambsgans' work has been exhibited nationally in solo and group exhibitions. 

Debra Holladay

Debra Holladay

Debra earned her Bachelor of Fine Arts degree from the University of Central Oklahoma and studied for six years at the Art Student’s League of New York. Highly collectible, Debra’s work is frequently included in juried museum and themed gallery exhibitions and invitational shows. Debra is an Artist member of the California Art Club, a co-founder of Studio2310, and a founding member of the PAC6 Painters.

Kelly Lingel

Kelly Lingel was born and raised in southern California.  From an early age, she knew she loved color and wanted to be an artist.  She would spend hours alone painting and drawing.  Kelly was fortunate to be exposed to great artwork from a young age.  Her mother encouraged her creativity and she and her godmother would take her to art museums and galleries throughout the United States and Europe.  As a child, she studied art at the Asian Pacific Art Museum in Pasadena. 

Richard Bennett Rigney

Richard Bennett Rigney

This application felt more in harmony with the forms I love to throw, soft and rounded. I have been influenced by hard edges in my other work, but for these pieces, a natural flowing or erupting surface mimicking the natural world seems to be best. I am finding dozens of surface variations that in essence allow me to carve my work in a spontaneous way."