The Tini Gallery

A gallery for Artists by an Artist

Art for sale!

All of the works are available for purchase in the Shop page. If you need the item shipped, please send an email to facilitate shipping costs.

The Tini Gallery

It started as a guitar instruction studio. But with the 12’ ceilings, these walls had a calling. The more that I learned about the art world and how artists navigate it, the more I saw that this guitar studio had even more to offer. Galleries are typically large, expansive spaces, that do basically one thing: show art. From a business perspective, this means the commission from sales ranges from 45-60%. But with the studio paying the bills, the artist gets a better cut, and fledgling artists get a chance to show their work.

Mark Rich

  • Ascension 1

  • All the gods lied

  • Corn Abstract - Another Secret Place

  • Pentatonic Intention

  • Under the horizon

  • Falling bones & the twins

  • Fireflies and Charlie Soule, summer of ’73

  • Tornado

  • Windows

  • Spaceship with corduroy moon

  • Without Malice

Why I Do It (from www.markrichart.org)

I paint because my father does. Using oil & wax, my pallet is an old glass tabletop. Empty tuna cans hold the wax on a hot plate. A torch for heating the brands that melt into the surface, hisses off to my left. From the pallet, to trowel, to brush... to canvas. Each time it’s this surprise, this step along the path. It is improvisation and sometimes random. 

Abstract painting is a way of thinking, and there is no destination. Difficult work may be more important than resolved work because it keeps you moving. Churning through ideas until the layers are thick with experience and history. 

My earliest influence was my dad, Harry. Followed by the New York School abstract expressionists, the post NYS neo abstract painters of the sixties, seventies and eighties, the faculty at SVA including: Susan Crile, Don Eddy, Burt Hasen, Michael Loew, Michael Goldberg, Joe Pearlman, George Ortman, Hannah Wilke and John Button.

Joan Shapiro

  • Joan Shapiro

    Batteries and Wires

  • Joan Shapiro

    Green Landscape

  • Joan Shapiro

    Hot Night in the City

  • Joan Shapiro

    Rose Landscape

  • Joan Shapiro

    The Wall

  • Zeus Descending

  • Rising to converge

  • Interference

Joan Shapiro “I work in abstract acrylic painting; collage and mixed media; and sculpture.

I use manmade and natural objects in my collages and sculpture.  In my recent abstract acrylic paintings I am experimenting with new forms of thickening pastes and resin-like pouring mediums that add depth, shine, and texture to the canvas.

I am attracted to abstract painting because of the freedom it offers to address so many ideas, from the deepest moral and philosophical concerns to reproducing elements in nature that are universal. I am interested in new definitions of beauty that go beyond the traditional.

Years ago, I said in a poem:  Color is the life of a place; its blood.  I still respect the power of color in art to help the artist convey her message, or create a mood.  The endless variety of uses for color keeps every medium fresh and challenging.

I am also interested in the role of inspiration in the arts; the seemingly inexplicable “help” artists often receive to aid them in the creative process as they are working.  Whether this intuitive help is viewed as spiritual guidance or simply the result of talent unfolding to meet the particular creative challenge, it is a mysterious gift to be cherished and appreciated.”

Paul St. Onge

  • Solitude

  • Let There Be Light

  • Magnolia

  • Pair of Pears

  • Rush Hour

Paul St. Onge The artist Paul St. Onge has long admired the work of mid twentieth century American artist Edward Hopper.  Like Hopper, St. Onge is fascinated by the shadows that are cast around everyday objects.  For Hopper it was lighthouses and restaurants. In his interiors St. Onge takes unoccupied rooms filled with simple furniture, a lamp, a chair, window curtains, and adds drama and mystery to his depiction due to his carefully chosen, vibrant colors, and the long shadows these objects cast, creating a sense of  narrative that invites the viewer to create a story as does a solitary lighted lamp.  A glowing curtain, a forest at the window, a print carpet, add subtle patterns to the strong solids

After four widely admired interiors, set in hotel rooms, an homage to Hopper, St. Onge recently applied his interest in shadows to a detailed exterior called "Rush Hour".  Unlike the interiors, which contain minimal objects, painstakingly rendered,  this bustling downtown scene contain figures, a bus, background trees and sky and a long central pavement covered in long shadows, surrounded by the suggestions of downtown buildings. Fans of St. Onge's work have enjoyed this application of his painterly interests to a new kind of scene, full of variety and color. With his interest in landscapes and ocean vistas it will be interesting to see what subjects next catch his eye for atmosphere and shadow.

Tammer Nassiff

  • Chandelier

  • Glasses 1

  • Glasses 2

  • Stupid Bathers

Tammer Nassiff Tammer Nassiff (b.2002) is an American contemporary painter living and working in Manchester, Connecticut. His paintings position themselves as technological artifacts, reproductions of moments from the screen. The work approximates processes of digital imaging through mechanical techniques, not unlike the historic pointillist method, resulting in images which are built from precise color picking and imprecise patterning. Through method, Tammer explores electronic opulence, simulated intimacy, and the manufactured sublime, defacing each with the organic imperfections.

Kim Bova

  • Blue Lung

  • Cellophane

  • Foggy Morning

  • Moon Thru Trees

  • Morning Prism

  • Purple Moon

  • Reflections

  • Spring Morning

  • Spring Sunset

  • Window Framed

Kim Bova on her two collections:

Magic Light: For every artist, the light at the edge of days is magic.  These photographs were created on my morning and evening walks near my home in CT where I’ve lived for 30 years.  The new spring buds on the trees in fog, sun and moon light provide an endless source of inspiration.

Wall Murmurs: At the start of 2023, I was home helping my husband who was recovering from knee replacement surgery. One sunny, windy afternoon, I noticed shadows dancing on my walls. Fascinated by the evanescence of these shadows, I began photographing them as they appeared for only a few minutes at a time and then were gone. I called them 'Wall Murmurs'. It felt like they were speaking to me in some way, but I had no idea about what.

I continued this practice for months and started to pair them as diptychs using other images of walls in my home. Still wondering why I was so fascinated by these shadows, I began noticing that my short-term memory was becoming foggy. This was unsettling, but I decided to get tested. The results showed that I was losing my short-term memory.

It was at this moment that I realized what my Wall Murmur project was all about. The ephemeral quality of these shadows on my walls represented my own fleeting memories that came and went so quickly. Pairing two of them together represents my partnership in marriage for 40 years - side by side through it all.

My walls were speaking to me and I'm learning to listen.