Moana Ponder expresses her artistic vision in classic fine art bronze with  emphasis  on the female  

  figure.  Raised in a family of artists she learned the language  of  visual  art from childhood.  Her love of              dance and the environment have  frequently  influenced  her choice of subject matter.  She often               personifies elements  of nature such as the  sea and butterflies into graceful  forms that are both elegant  and alive.  Other work  springs from an inner landscape, one of the mind.  Some  pieces are  introspective  while others reach out  to the infinite.  Whatever the  subject, there is  an attention to  lyrical line and rhythmic movement that delights  the eye.
     Born in Hawaii she was educated at Punahou School and then the University of  California at Berkeley. Specific study was under Edy Burke, Tyler Norman,  Fritz White and others as well as  study at the Honolulu Academy of Arts.  Time spent in Italy and France also greatly influenced her work.
     Originally a painter,  she took up sculpture in 1995 and enjoyed a rapid rise to national attention.  In just the first few years  of work as a sculptor her work was exhibited at Chamizal National Memorial in El Paso, Texas  and the National Sculpture Society Awards Exhibit at Brookgreen Gardens in South Carolina and at Park Avenue in New York. Her work has since been exhibited in fine galleries from coast to coast and is collected both nationally and internationally.




Tom and Jean Heffernan

Our work is about duality--the fact that most things (concrete or abstract) have two contradictory components, both of which are true.

Through our choice of materials, our manipulation of them and in our conceptual presentation, our work is: 

About the natural world and industry: Few things are more natural than metal--it is elemental. Yet, it has been mined and forged by enormous force and intense fire. Then, we hammer, bent and grind it until it conforms to our will.

Ancient and Contemporary: We weave sheets of metal into a checkerboard pattern. It has a modern, upbeat vibe but it is no different than patterns that were extraordinarily popular in ancient Egypt or those found in most prehistoric societies.

About self-absorption and self-consciousness: We incorporate mirrors in virtually all of our work. Viewers look at themselves, from afar and then closer. They engage with their appearance. At times, they are absorbed in an exploration of themselves.

Yet, at the exact same time, a duality occurs. Tor Norretranders, the esteemed Danish science writer and thinker, believes that "the most influential invention of the past 2000 years has been the mirror: It has shown to each person how she or he appears to other persons on the planet...This made possible the modern version of self-consciousness: viewing oneself through the eyes of others..."

About the individual and the whole: Likewise, the viewer is aware of their individuality and the fact that they are a small, small part of the greater whole.

About aesthetics and functionality. We live in the American Southwest--an intense, beautiful region awash in geometric forms, beacons of color and lavash sunlight. Our work reflects this:  mottled strips are an embodiment of the lichen that is seen everywhere--a living graffiti splashed across rocks that have not been moved in centuries, and smooth colored strips representing dessert birds, flowers and distant cliffs. The portion around the mirror is inspired by the ever present dazzling sun. And, the mirror itself, while acting just like a mirror, also spreads available sunlight everywhere.

About the nature of art:  Art is a physical, intellectual and emotional endeavor; the work is infused with the essence of the artist. In that way, the artist is always with the viewer. However, in our art the viewer will be directly in the middle of the work. Without them it wouldn't be complete; they are as much a part of it as us. In that small way, she or he is always with us.

The contradictions we present are varied and diverse. Some are subtle, even oblique. Others are clear, distinct and in your face. They can be simple or complex; but they are always profound. Each of us is confronted by duality every day. Every contemporary political and social issue is replete with duality.  So too are the broader issues of consciousness, ontology and metaphysics. Our work is partially an effort to encourage the viewer to see both sides of all things, especially their own behavior and existence.


Alexei Kamenev was born the village of Penza, Kharkov Region which is now the Ukraine in 1976 to the family of a journalist. Inspired by his elder brother, he became interested in woodcarving in his early adolescence. He enrolled in the woodcarving program at a vocational school at the first opportunity. Where he, Alexei became fascinated with folk art woodcarving and wooden architecture.

In 1944 Alexei entered Kharkov School of Arts, the department of Fine Arts, which before, had seemed to him an unrealizable goal. Alexei’s teacher was the most experienced professor, the recognized artist Boris Borisov. The professor invested a lot in his student; he fired up his passion for art and Russian traditions in art. He taught Alexei to paint fluidly, uninhibitedly, lushly, and on a grand scale. During his years in the School of Arts, Alexei absorbed the best traditions of the Russian Classical School of Realism represented by such prominent artists as K. Korovin, F. Malyavin and Arkhipov, as well as French impressionists (Monet, Sisley, etc.) Alexei strived to achieve lushness of color, rambuctiousness of paint, freedom of brushstroke, lightness and a glimmering impressionism.


In spite of his young age, Alexei Kamenev managed to achieve certain heights in Fine Arts and his talent finds positive response from his admirers. He is now represented by fine art galleries, particularly in Europe and the United States. Santa Fe Art Collector proudly represents him in New Mexico.

Richard’s painting style has been described as robust;expressionistic;energetic,with sweeping use of color and skillful harmonies. Attributes that are born of close observation  of subject matter,countless hours of indoor as well as outdoor painting, and boundless love of the craft. Instructing in private and public institutions for the past 18 yrs. he brings a wealth of Art History, including the most recent trends.

Of himself he says, “ My goals as a painter are to imbue the viewer with a sense of mystery,

beauty and timelessness and to give the viewer a time out from the course of day to day life.

His plain air works are i private collections throughout the U.S.

“I learn something new with each painting in terms of  how perception,color theory,and color chemistry work together to provide the viewer with an aesthetic experience. Growing up in Southern New Mexico and now residing in the northern New Mexico village of Truchas, he finds a constant sour of subject matter in friends,family and the beauty of New Mexico.

He graduated from the College of Santa Fe and loves the land and people of New Mexico.



Ken Bonner was first inspired to paint in England in the late 1960’s. In his early years Ken became smitten with wildlife photography.  He spent many years visiting Southern Africa photographing the exhilarating landscapes and wildlife.  His senses were in awe of this visually rich experience, and it has continued to influence the expression of his creativity.

International travel, career and a new family changed Ken’s focus.  He settled permanently with his family in New Zealand in 1982. During this period a high level corporate career took him away from actively pursuing his passion for art although it continued to simmer within.  His desire to paint eventually broke through again and in 2003 whilst living in the Bay of Islands, NZ, Ken once again picked up his brushes.  He has pursued art full time, and professionally since then.While in New Zealand, 2003-2006, Ken held seven solo exhibitions.  He displayed at many Northland /Auckland galleries and with extensive media coverage and critical acclaim. He was fortunate to have sold all works produced there.                                                              
On a ‘whim’ Ken went to Mexico for a ‘blind date’.  ‘It worked’, He moved there in 2006 and married, Patricia, a wonderful Australian adventurer, who was running her own B & B in La Paz, Baja Sur. The rich beauty and color of the Baja provided fantastic inspiration for painting and helped Ken develop his technique significantly.  He was fortunate enough to have the Tres Virgenes Gallery in the center of La Paz, dedicated exclusively to his work.  He produced many commissions and large works during this period mostly sold to an appreciative Northern American and European market.         
After he and Patricia moved to the Sunshine Coast, Queensland, Australia in 2010, Ken continued his passion of painting in the rich and varied environment of the sub-tropics.   Ken found the Australian landscape and wildlife to be immediately inspiring, so full of new stimulus, lush color, amazing energy and light.                                                                                                               
His initial focus was to produce a body of work based on local flora, fauna, landscapes; abstract and contemporary.  Ken Bonner held solo exhibitions in Australia- in Noosaville; QLD, December 2010, followed soon after by a solo exhibition at the State funded Tablelands Regional Gallery.   Five galleries throughout Queensland represented Ken Bonners work.
Ken has also exhibited his work at The Broadway Gallery New York in 2011.
An exhibition at the Asia Contemporary Art Show in Hong Kong during 2013 proved both exciting and successful. This show introduced the Asian market to the art of Ken Bonner. Many invitations to show his work in other Asian cities followed including China, Singapore, Korea, Taiwan, Hong Kong, USA and Italy.      
During an exploratory visit to Santa Fe in 2012 Ken became impassioned to explore and capture in oils the colors and light in the subjects and scenery of the South West.  The light and color is stunning and the country as enchanting as its reputation.
Ken and Patricia returned to Australia and made their plans to move to Santa Fe which was finally achieved in November 2013.  After arriving in Santa Fe, Ken could be seen wandering the streets, hillsides and trails, while muttering and observing, “the light, the light”, apparently a common exclamation of most artists when first experiencing the clarity of light, shadows and dimensions created at this high altitude of Santa Fe.
The new stimulus of the Southwest and the nearby Colorado Plateau is inspiring, and has resulted in the creation of works related to the local environment; new ways of using color, technique, style and subject matter to capture the essence and uniqueness of this area.  It is an exciting time for this artist – to explore more deeply into his creativity through new inspiration, and in sharing this with clients, supporters as well as with a new audience.
Ken Bonners approach and style is distinct and unique.  His style has been described as "impressionistic realism".  Each piece produced is highly original and is a creation which evolves during many layers of application.  The artist starts with a vision and then allows the concept to take on its own life.  The aim is to stimulate and please the eye through composition and color impact.  The works are predominantly in oils.  Big canvas gives a means to impact and express subjects in a powerful way through vibrant color and technique, although smaller canvas also offers its own rewards in impact and expression.   Fun and enjoyment as well as a deep expression and passion for his art, continues to provide challenges  to create art work that is uniquely meaningful to the observer as well as to himself, the artist.
Ken Bonner’s work is presently held in private collections in 17 countries.                  Australia, Bangladesh, Belgium, Canada, England, France, Germany, Hong Kong, Mexico, Netherlands, New Zealand, Nicaragua, Northern Ireland, Norway, Scotland, Spain & USA.


Raised in a Navy family, Ed Holmes saw much of the world during his youth. His senior year in high school was spent with his cousin in  New York. Ed’s cousin was a successful illustrator and wanted to encourage his interest in art by exposing Ed to the great art works in Manhattan’s museums and galleries. This led to Ed’s later studies in Utah where his love of western art was born.


A highly successful and award winning commercial illustrator for many years, Ed Holmes finally put his energies into his first love, western art.


Holmes inspiration for painting the plains Indians, Apaches, and mountain men harkens back to the idyllic time that he spent pursuing his formal studies as a young man at Brigham Young University in Utah. Holmes was exposed to such notables as Grant Speed, Ed Fraughton, Veloy Eaton, and Gary Knapp. Upon leaving his studies, Holmes concentrated on commercial illustration for his growing family. However, the lingering memory of the mountain west and its grandeur left an indelible impression and a thirst that one day had to be filled.


Holmes work has been featured in such notable publications as: Southwest Art, Cowboys & Indians and Art Life. Ed’s western paintings can be found in private and corporate collections throughout the US, Canada, and portions of Europe.