which helps him simplify his work, but has an apparent quality which translates to his art. Biggers is fond of actually being on locations to paint. Or he will hike while observing nature and the scenes around him. He believes this gives heart to his work as he explains, “For me, being alone in nature and at one with my surroundings is where heart is discovered. It’s like when I am fly fishing; all the outer cares drift downstream and I’m in touch with my inner senses. Heart is not copying nature, but expressing it. I can’t put it into words — so I guess that’s why I keep trying to say it in paint.” Never satisfied to paint the same subject in the same way, Biggers forced himself to learn and see more while constantly searching for inspirations and techniques to give his paintings essence. He feels the best way to capture the heart of a subject is to paint from life and to continually search for new subject matter.
Lemons, 9 X 19, Oil on Board
THE SHAPES, DARKS, LIGHTS AND COLOR HARMONIES OF
F
James Biggers
rom his studio in Estes Park, Colorado, a small scenic town in the Colorado Rockies, artist James Biggers enjoys his home on Little Prospect Mountain. Across the way he peeks out every morning at Lumpy Ridge and Deer Mountain, his favorite places for day trips to paint. Like many artists, Biggers started drawing in childhood at every possible opportunity. The foundation of drawing
gave him the skills which led to his pursuit of art. His great influences include Father Walsh, who was a graduate of the Art Institute of Chicago, and Richard Schmid. Biggers graduated with a Bachelor of Fine Art Degree before moving to Colorado where he now resides and pursues his passion for painting. The strong sense of design evident in his paintings was developed during his work as a commercial artist.
”At some point you have to put something of yourself into your work. Without this element you will never have a great painting. Design and the subject may attract people to your painting, but heart is what keeps them there,” says Biggers. Biggers is quick to credit his years as a commercial artist during the late 1960s and early 1970s as reinforcing his foundation, especially in design principals. Often times in painting, less is more, a value and mantra
“When someone comes to me and tells me they have had one of my paintings for years and they can still feel the emotions of it, then I know I have succeeded as an artist,” he reflects. TOP: Mohab Delight, 18 X 36, Oil on Board MIDDLE: Bear Lake South, 18 X 24, Oil on Board BOTTOM LEFT: January Day, 36 X 48, Oil on Board BOTTOM RIGHT: Clouds on the Divide, 40 X 40, Oil on Board
Michael Wigley Galleries, Ltd. 1101 Paseo de Peralta 505.984.8986 www.BiggersStudio.com