Contemporary texas magazine feb 2017 by Gabriel Diego Delgado

The Fine Arts Magazine

FREE Feb. 2017 Issue

Mundus Imaginalis

–Pauly Tamez Boerne Visitor’s Center

Russell Stephenson

–Additions

Texans in New York Two Part Series

New Artists at Carriage House

–Collaborative Dialogue Albert , Caroline, & Jesus

Reviews/ Commentary/ Exhibitions/ News/ Events

Photography and Design by: Gabriel Diego Delgado

Albert Gonzales, “Wabi Sabi”, Acrylic on Canvas, 12” x 12” / ph. 210.723.1338

CONTEMPORARY TEXAS The Fine Arts Magazine

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IN THIS ISSUE Texans in NYC Fieldtrip to NYC!

Press Release What’s Happening

The Arts Magazine Feb. 2017

PUBLISHER Gabriel Diego Delgado Contributing Writers Gabriel Diego Delgado

IN EVERY ISSUE A Note from the Publisher –P.10

All artwork photography courtesy of Gabriel Diego Delgado and notated contributions when appropriate

On the Cover—P.12

Prices are for current artwork, and can change at any time

Contributors— P.12

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The Fine Arts Magazine

FEATURES Feb. 2017 Issue No. 1

Russell Stephenson

New Artists Carriage House Gallery

Imaginary Worlds

Pauly Tamez Landscapes

Casual Conversations Lone Star Studios

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A Note from the Publisher This is the first edition of Contemporary Texas, The Fine Arts Magazine for the 2017 year. As I leave behind the magazine that was born within the gallery walls, I am excited to launch the next journey of this literary world, reflective of the visual arts community within Texas. When I say ‘Contemporary’, I hope you do not assume that only that kind of genre of art will be in this magazine. What I infer when I speak of ‘contemporary’, I include what is happening now, the present. However, galleries, museums, and spaces can be showing art from centuries ago, but is curated in the contemporary. Artists are making art in the traditional genres as we speak; the landscape painter, the floral painter, the impressionist...but yet there are those working within the contemporary aesthetic too. Do no let the title fool you. Contemporary Texas, The Fine Arts Magazine, focuses on the now in whatever form that takes. We hope that you enjoy the premier edition of Contemporary Texas, The Fine Arts Magazine .

Contemporary Texas , The Fine Arts Magazine hopes to use its pages as a vehicle to educate, entertain and enlighten our audience on a variety of topics ranging from reviews, news, artist narratives, interviews, criticism and a cohort of other art related stories from within the gallery walls to the major metro centers. I hope you find this informative and hope you continue to follow the artistic happenings around you in your local neighborhoods.

Sincerely,

Gabriel Diego Delgado Publisher

delgadoconsultingandappraising@gmail.com

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ABOUT THE ARTIST Mother, lover, professional, politician, teacher, bride, widow, queen and maid…All glorified and unified by their gender. Women are nurturing and powerful in the eyes of Sandra Mack-Valencia. Like most artists, Mack-Valencia's works are influenced by her personal history. Sandra was raised in Medellin, Colombia in an environment where female authority is respected, and where women are considered the core of the family and society. Through “Ordinary Queens” the artist makes a bold statement where everyday women are elevated to royal status to highlight the driving force of their presence in the world. Sandra’s women are often depicted in extravagant costumes of royal lineage and fantastical dresses that are both heavy and powerful. These investitures transfer a feeling of strength to the female characters who wear them, and also give the artist the possibility of losing herself in endless patterns and whimsical designs that meet her aesthetic needs. Mack-Valencia uses beauty as a bait to engage the viewers, and then lure them into a further reading of the work, which is filled with twists and edgy clues. Mack-Valencia's Ordinary Queens not only bring aesthetic pleasure, but they offer a means for critical engagement. In the end, this body of work allows the artist to meet one of her main purposes: To offer visual bridges to bring us together.

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On the Cover / Contributor

“The sky...oh the Texas sky! So much emotion, tranquility, hope, and warmth from her.” This is a picture taken over Lake Travis in Austin, TX on a much needed and deserved family vacation. Although the memories are ours, this image evokes so much more. I thought it was also an appropriate image to use as the cover for the new magazine, as a symbol of hope and the future. It also compliments Russell Stephenson’s artwork in the most simplistic ways. I hope the cover inspires you as much as it does me.

Gabriel Diego Delgado is the owner of Delgado Consulting and Appraising and is the former Gallery Director at .R. Mooney Galleries in Boerne, Texas. He has spent almost a decade in Nonprofit Art Management- working as a Curator of Exhibitions at the Station Museum of Contemporary Art and ArtCar Museum, both in Houston; and as Project Manager of Research and Development at the Museo Alameda, a Smithsonian Affiliate, San Antonio. He has been an Arts Reviewer and critic for over a dozen local, regional and national publications. His artwork has been shown in Arco 2012 Madrid, Spain; New York, New York, MOCA D.C. as well as numerous galleries and venues throughout the U.S. He is competent to appraise fine art and personal property in affiliation with the code of ethics and USPAP standards for the International Society of Appraisers (ISA).

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Cactus* Landscapes* CONTEMPORARY TEXASCommissions The Fine Arts Magazine /

Artist Spotlight

Credit: Detail, Carolyn Crump, “Cherished Times”

Mundus

Detail of “Odysseus”

Imaginalis

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Psycho Cosmic Paths to Artistic Meditation By: Gabriel Diego Delgado Images courtesy of the Artist

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“Ancient of Days”

Artist Spotlight “Mundus Imaginalis”, a solo exhibition of new artworks by San Antonio artist, Russell Stephenson at the recently established Art Legacy Gallery, which opens on Feb. 2, 2017 – March 3, 2017, showcases a world beyond our own, a metaphysical one – of infinite depth and detail. Although there are approximately three distinct groupings of artwork on display, all explore aspects of a certain visual aesthetics. Familiar aspects of recognizable realism are combined with unacquainted alien-scapes, and three dimensional illusions of floating carved and gouged abstractions. This Latin title loosely translates to: “Imaginary World” or ‘World of the Imaginary’, a signature term that was coined by and is derived from theologian, philosopher and scholar, Henry Corbin (1903-1978). The Hermetic Library states, “Corbin’s life was devoted to the struggle to free the religious imagination from fundamentalisms of every kind. His work marks a watershed in our understanding of the religions of the West and makes a profound contribution to the study of the place of the imagination in human life… Imaginative Consciousness, Cognitive Imagination.”

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Corbin was heavily influenced by the writings of Suhrawardi, the 12 th century Persian mystic and philosopher and his views on Zoroastrianism, one of the earliest religions that influenced Judaism, Christianity and Islam.

“Elementa 5”

This is where we must begin folks…in this coded language of abstract thought that goes beyond our current understandings of religion, meditative practice and spirituality. Stephenson transports us to the ‘conceptual’ mindscapes that linger somewhere in the 5th, 6th or 7th dimension. In the abyss, these ephemeral and heavenly bodies, decreed by elements of abstract realism images exist… somewhere… out there… beyond the limits of day to day mundanity, toward a new understanding of spiritual healing and a definitive releasement of mental anguish. Similar in color palette and technique, the new paintings are progressions from his previous bodies of artwork from 2014 / 2015, where he drew inspirations from actual geographic locations within the Southern United States. However, “Mundus Imaginalis” delivers a certain calmness which can only be found in the theoretical practice of meditation.

“Elementa 6”

Stop!!! And now …Silence… SHHHHH…

Here is where I must rest for a moment, collect my composure and assert my endearing journey into the unknown. I look toward the familiar art refence jargon I often use, I must anchor my thoughts somewhere to continue the discussion of these paintings. I feel I must move beyond the rhetoric of academic explanations. Yes, I can say that I see reflections, mountains and craters…. elements my brain tries to recognize for me to understand what I am looking at. But for a moment, give your subconscious freedom to digest what it can comprehend beyond the realisms of this artistic practice. We must step deep into Pre-Christianity and PreIslam contemplations, ready to circumnavigate the monotheistic approaches of contemporary religion.

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“New Dawn Rising”

Installation View

Artist Spotlight

â&#x20AC;&#x153;We must step deep into Pre-Christianity and Pre-Islam contemplations, ready to circumnavigate the monotheistic approaches of contemporary religion.â&#x20AC;?

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Artist Spotlight

There, beyond the comprehension of taught religious academia, and of historically preached divination lies the origins of something else. Stephenson gives visual birth to these ancient origins. Floating in the ‘imaginary mind’, the ‘cognitive imagination’ unrestricted by the ‘Holy Trinity’, Muhammed, ALLAH, Abraham and others we are delivered to a virgin-scape of the unschooled approach. Are we seeing what is in ourselves as we become aware of the navigatory senses of the imagination, the ‘land’ that goes beyond conception. What if these images are not intended to be interpreted by what we see and understand but are visual meditative evidences to where the mind’s eye needs to go; a place judged not by the allocates of daily living at the holy gates or the rejected principles for clean living, but to an undefined ‘nirvana-like bliss’; or as Henry Corbin describes as the “Land of no-where.”

In “Mundus Imaginalis”, Stephenson starts us at his depictions of the ‘cosmic mountain’, but quickly elevates us to the ‘psychocosmic mountain’. The paintings act as a sort of visual guide, starting us out at the physical cosmos and an illuminated path that transcends us to a new level in the spiritual universe. “The paintings act as this manifestation of pure thought… transformation of the mediums into something precious, or valuable, into the physical representations of the ephemeral or transient. The paintings act as mediums, or links, to this contemplative meditational state in which the work is ultimately made. Both as a transportational device, and as evidence-based reliquaries of that alternative reality,” says Stephenson.

“... starts us at his depictions of the ‘cosmic mountain’, but quickly elevates us to the ‘psychocosmic mountain’….visual guide, starting us out at the physical cosmos ...transcends us to a new level in the spiritual universe.”

“New Dawn Rising”, a 48” x 54”, mixed media on panel painting seems to set the standard high for the rest of the selections in the exhibition. Again, my mind perceives the painting as a mountain range reflected in a body of water, but alas, nothing in this world is that easy. Closer analysis reveals so much more. Atmospheric radiance is achieved through layers of paint, underpainting, and glazes gouged, scrapped and pulled. Art History shows us this technique can be achieved through alchemic processes using gold leaf, however, Stephenson uses none. That is what reflects his craft – his ability to create these auras of illumination through meditative art process-painting.

“Paintings like 'Ancient of Days', manifests both the Apocalyptic, and the Ascension of the Almighty Creator as he transforms his state from the Spiritual, to the physical, in the form of Christ. Avoiding 'gravenimages', I focus more on the transient, the light, the energy, and the minute spaces in-between that science is starting to discover as the almost physical fabric that binds the two worlds together and acts as a link between the two,” Stephenson states. “Odysius”, an 18” x 20” mixed media on panel painting shows us the abstract theory of the wrathful god. An alternative spelling of the famous Greek Mythological leader in the Trojan War, Stephenson executes a painting that captures emotion, motion, conflict, dread, assertiveness and abstract sense of leadership.

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‘Odysseus”

A dominate central entity of cosmic force shows us the demanding demeanor of its power. How does this abstract form does this? I do not know, but I step back as if pushed away as it sizes me up. I see “it” has a protective side and a vengeful side. The good and evil of the creation. “Odysseus is commentary on the overall narrative of the explorer, and the exploration of this journey…. the paintings for me become the very objects that fuel the contemplation of these ideas, and the narrative of the creation of the work is engrained throughout the process, to reveal the revelation,” he adds.

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Artist Spotlight “Chasm”

Detail of “Elementa 1”

“The Philosopher's Stone”

“...making the ‘imaginary world’ of our collective cognitive consciousness a perfect place ...to arrive at these celestial divinations of alternate realities.”

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“Awakening”

Although the painting is small in physical space, this manifestation of raw energy is beyond the limits of the composition. YES!! Lead us to the eternal afterworld of interplanetary voids, we will follow you Odysius! There must be something beyond the madness of today’s political landscape. As we experience regression and stalled passage back to reality, Stephenson really does capture a visual element of Zoroastrianism: "be among those who renew the world...to make the world progress towards perfection.” Stephenson might not be renewing the world in which we live, but he is doing so much more in this new body of artwork, he is making the ‘imaginary world’ of our collective cognitive consciousness a perfect place to meditate on spiritual level void of the theistic limitations of religion; to arrive at these celestial divinations of alternate realities. I will go there any time to rest and rejuvenate. See you there! For more information, call (210) 444-2289, or go to : www.artlegacytx.com Art Legacy Showroom is located at 1175 W. Bitters Rd.

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February 11 March 11

Bill Hensley Don Darst

Intermediate Sketching Oil Painting

April 15

Marin Phillips

Plein Aire

May 13

Kristen LaRue

Soul Storyteller

June 10

Paula Lay

Watercolor

For More Information and to Register, Go To: www.hccarts.org The Mission of the HCCArts is to develop and sustain an environment that supports and promotes awareness, appreciation, education and access to all the Arts in Kendall County and the other eighteen Hill Country counties which include Bexar (San Antonio) and Travis (Austin).

Save the Date: April 1 - Crafted BierFest - Benefitting Boerne Village Band

$10.00 OFF COUPON GOOD FOR ONE MINI-WORKSHOP *MENTION THIS AD WHEN REGISTERING*

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Civic

Pauly Tamez New Artwork

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By: Gabriel Diego Delgado Images courtesy of the Artists & Author

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Civic

wanted to start this off this article with an unexpected literary prose of poetic justice. Not the braided weave, Controoolllll!!, baby at 50, Generation X, Poetic Justice but the justice that is fair, that is partly the inferred righteousness of a passion so real, so true, that it cannot be unhinged by negative influence (a.k.a. this critic’s often opinionated cynicism). You see, there is a sense of innocence in the diligence; of hits among misses —a respect for trying, evolving, maturing, and yes…the risking.

rt can be done for many reasons; for selfish coveted-ness, for expression, therapy, exploration, and the list goes on and on. However, once the paintings are on the wall…that moment of acknowledgement, we are forever permitted to say… “Alright, now the art is in the public sector — my space, our space, ‘out there’ for all to see; it is free to be securitized, critiqued, evaluated, loved, dismissed and ignored.” And that my friend, is where we are now in this essay! Boerne Visitors Center at 1407 S Main St, Boerne, TX has been hosting a monthly exhibit of local artists on and off for the last few years. For the month of January 2017, they spotlighted the artwork of Boerne artist, Pauly Tamez. A traditional landscape painter, Tamez had ten paintings on display, showcasing his love for the Texas scenery. Tamez, is a self-taught impressionistic landscape artist who credits the late Texas artist, Bill Zaner, as one of his mentors. His traditional landscape paintings start as plein air sketches, transforming into studio executed oil and watercolor paintings. However, before we start to investigate the artwork itself, I must step…not back, per say…but sideways…

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“Where the Creeks Converge”

to glance at the familiar from another angle; departing from one of scholarly aptitude to one of openness. Yes, I feel like I must remove my outstretched index finger away from my moustache and dissolve my double whiskered aristocratic air of artistic snobbery to absorb the humble aura of this hill country artist as he displays his art; a “newly recognized passion”. I have written in the past of outsider art and of the naïve artist. And, here is where I must pick up that conversation once again, but through another filter… of the loaded word — “RAW”. Before we continue, I must acknowledge that ‘raw’ in the sense of art history is shelved within this established context of the genre of outsider. But, what if, for a moment, we distinguish a new ‘raw’. This raw comes from the same deep- down ‘unschooled’ theological premise of the outsider, but is attaining a new level. One where the individual is evolving from his own education through doing; practicing through what he knows, of what he sees…trying just to capture the simplicities of the environment. Mistake upon mistake, failure upon failure that creeps on positively through repetition and assiduousness. The artist knows the desired effects, and classical genre in which they strive, a stark contrast to the mentally unstable mindset of clinical exploration of the latter. There is a ‘rawness’ in Tamez’s work that I first took as indifferent and blasé. I had a typical kind of …walk past it without acknowledging it, you know the stride of, oh I have seen this hill country nonchalant-ness

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Civic “Santa Elena Morning”

“...the individual is evolving from his own education through doing; practicing through what he knows, of what he sees… trying just to capture the simplicities of the environment.”

before and I don’t care attitude. On further reflection, I ended up full 180° and began to understand it more in-depth for what it was. I was looking at Tamez’s paintings from a critic’s narrow vision of anti-peripheral evaluations, a glance down the nose of my bumped Spaniard snout. The critic epiphany was that I could only compare the paintings to themselves, the ten in that room, at that space in time. Sure, there were some that were downright bad, some not that great, some were muddied, some were better than others, and some showed promise. But, in the mix of that room were some stars, illuminations of everything done right, like the glowing briefcase in Jules lap; we are not quite sure what it is, just that it somehow works.

These paintings at the Boerne Visitor’s Center are not to be compared to those of his mentor, Bill Zaner, or other impressionistic landscape painters that might be Tamez’s peers, but they are gems to the artist’s own artistic portfolio. And, it is these few select paintings

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that make this show a success. If those three were shown by themselves under no context without the others, they would not represent this idle comparison or equate the same critical evaluations. It’s like the supporting cast to the lead role, the five other guys to Justin Timberlake or Daryll and Daryll to Larry. We need the paintings in the show, all the paintings; the bad ones, the not so bad ones, and the good ones to push out the great ones. The first to catch my attention was “Where the Creeks Converge”. This 16” x 20” oil on canvas landscape captures a Monet-esque waterscape where the Cibolo and Menger Creeks converge. Diagonal strata of river rocks run parallel to each other, guiding your eye to the larger boulders on the opposite shoreline that act as anchors to the composition. An angled arrangement of stones lead us up and out of the picture-plane, bookended on either side by the green vegetation of the Texas landscape. Although the application of paint to the greenery is in some cases haphazard, the execution of the waterscape and its reflections, movement, and environment are spot one. We hear the bubbling brook with Tamez as he stands ankle deep in the cool river water, sketching this unusual composition.

“The critic epiphany was that I could only compare the paintings to themselves, the ten in that room, at that space in time.”

“We Deliver”

“Santa Elena Morning”, a 30” x 40” landscape painting of the canyon walls at Big Bend National Park is the second painting that deserves recognition in op-ed context. Two converging walls meet in the middle of the composition, like some forced one point perspective classroom assignment. However, there is much more. Rudimentary lines of sedimentary layers are accented by heavy handed application on the right canyon wall only to be complimented by the thick application of monotone browns on the left canyon wall. The sky in the triangle shaped middle cut out if a single shade of blue. But what keeps this painting together is the light, the atmosphere, the impressionistic time of day that Tamez captured in his humble attempt to capture God’s magnificent glory. The right façade is highly illuminated, a painterly achievement by understanding the bask -ness of the rising sun on the rock wall. The reflection in the pool of water in the foreground reflects the cerulean beauty above it. And yet the reflection of the canyon wall in this shallow pool of water is perfect.

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Civic

The last to make me stop and contemplate his artistic deliverance was “View from Santa Elena Canyon Morning”, a 9” x 12” rendition of the rising sun somewhere in Big Bend. There is a bit of elementary application with the paint to illustrate the landscape, the undeveloped jut of rock that dominates the left side of the composition and the swaths of muddied green messes make up the middle-ground. But, we must look past that to the true beauty of this painting, to the background. The c-shaped river bend guides us through the land to arrive at the entry of where this painting really begins. The ‘purple mountain majesties’ evoke a sense of faded 70’s patriotism. The quick color theory of complementing colors with the purple and yellow give great dramatic effect to the ridged skyline. His wisps of clouds and atmospheric light capture that moment forever. I feel that Tamez had to navigate through the development of this painting, making mistakes along the way to deliver the end game…the mountains, which act as an exclamation point at the end of his sentence. In closing, I know it takes nerve to display art for public consumption. Some artists will never do it. However, Tamez shows us his faults, missteps and self-guided discoveries along his road to the creation of art. By: Gabriel Diego Delgado

See more of Pauly Tamez’s art on his website at:

“View from Santa Elena Canyon—Morning”

www.ptamezart.com

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Sidney Sinclair Fine Art sidneysinclairlee@gmail.com

NEW WORKS AVAILABLE

Delgado Consulting and Appraising Ph. 210-723-1338 Delgadoconsultingandappraising@gmail.com

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COMING SOON!!! 34 /

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Boerne

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Adding

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Artists By: Gabriel Diego Delgado Images courtesy of the Author

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Boerne

ne of the major announcements for the art community in Boerne is the addition of two new artists to the roster at the Carriage House Gallery of Artists – painter, Paula Lay and photographer, Elizabeth “Libby” Castle.

Mrs. Lay’s initial introduction to Carriage House’s gallery patrons include eleven art pieces; ten watercolors and one large giclee. She has also set aside a small area within her section in the gallery that showcases her love and affinity for antique frames that accompany her paintings.

“Plains Native”

“Paula has loved the delicacy of watercolor since she was a youngster growing up in Lubbock, Texas, but did not try painting until a few years ago, when she was living through a long Alaskan winter. A generous friend gave her paper, paints and brushes, along with lots of encouragement,” says Carriage House.

“As I paint, I work to capture the essence of the subject, whether it’s a building, landscape, beloved pet, or wild thing,” says Lay. Of the eleven artworks, Lay gives the audience a good variety of topics that include: three profiles of animals (buffalo, longhorn, and a horse), two Alamo mission scenes, three birds, one pear fruit still life, and one purple floral bulb. Carriage House says, “Paula's approach to painting is to try and capture the essence of the subject by using color in unexpected ways. She successfully captures movement and personality when painting her subject, animals being her favorite.” “Although I am a native Texan, I lived in many states, including Alaska. I now reside in Boerne, Texas with my husband, and a menagerie of animal companions,” Lay says. Also, part of the new artist additions to the gallery also include a Boerne photographer who has worked extensively documenting Boerne’s city events like Dickens on Main and the multiple annual parades, Elizabeth “Libby” Castle.

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Installation shot

Libby Castle is a photographer. She explores all dimensions of photography such as abstract photography, macro photography, portrait, landscape and wildlife photography,” says artist, Pam Gardner of Carriage House. “Libby was also awarded 'Best in Photography' at the 2014 Texas Hill Country Invitational.” Mrs. Castle’s selections in Carriage House include three floral images, two religious bases images, one large photograph of a zebra eye and a mission door; totaling her initial showing with the new gallery at seven images. All the images are editions of ‘1 of 99’ which are signed and numbered by the artist. Heavily dependent on the macro lens photography technique, Castle intimately explores the fine details of her subjects.

“I seek out everyday subjects to reveal something “I seek out everyday subjects extraordinary-to to reveal capture the something extraordinary-to unique attributes capture the and child-like unique attributes and child-like awe awe of seeing of seeing something for something for the very first time. I the very first am always looking for ways time.”

Installation shot

to break conformity and offer my clients something unique and inspiring,” says Castle. With a wide range of fine artists represented at Carriage House, Paula Lay’s price points range from $100.00 - $700.00 for her original paintings and reproductions, while Elizabeth Castle’s

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“Waiting on the Masses”

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“Cornerstone”

“Awakening”

Take the time to explore the arts community around you in Boerne. Visit the galleries to see what’s new. Take time to talk with the artists and hear about their inspirations and vision. There is a wealth of education within the walls of the galleries. Much can be appreciated and learned by being a gallery-goer. Go out and explore Boerne!

“Hover”

Boerne

Castle’s photographs are priced from $200.00 - $490.00.

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Publisher’s Pick

ublisher’s Pick

Conversation Edited by Gabriel Diego Delgado

Sometimes there are conversations that happen in-between the exhibitions, opening, interviews and meetings. These conversations are on the fly and casual, but full of information that should not go unnoticed. I felt there was a need to document these conversations somehow and expression the great dialogues that go on every day. We all get texts, messages, emails, phone calls, and have conversations that seems worthy to note in their own rite. “Publisher’s Pick” is my attempt to give an addition angle of depth to the greater San Antonio Art Community. —————————————————————————————I witnessed Albert Gonzales and Caroline Adam unload from their car and layout their ‘collaboration’ exhibition, “From Us With Love”, which was held that on the Second Saturday of January 2017 at Lone Star Studios. Coined as an exhibition where these two artists worked on paintings together as a team in collaboration with each other; which included additional paintings that were done individually. “Each painting is a collaboration between Caroline Adam and myself. Each painting is a representation of passion, frustration, communication, balance and love. We are both very different artists an in each painting we both worked very hard to communicate to our audience with our team work through art,” says Gonzales. This is a recorded conversation between Jesus Toro Martinez, Albert Gonzales, and Caroline Adam on Jan. 12, 2017 as they laid out the exhibition and talked about the creation of the artwork.

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C: I showed him [Albert] some of my paintings…because I was mostly doing drawings... then he gave me a spray can. I had never touched a spray can before... I thought ‘what am I doing’. We kind of started going back and forth on a piece, figuring out each other. And then it was more like trying to figure out who we were as artists as we worked on this piece. And once we finished it I was like ‘Yes’…and thought ‘O.K. don’t touch it, don’t mess with it, don’t do anything’….and he messaged me one day at work with a picture of ‘look what I did’, and there were huge parts of eyeballs all over it and all black….and I said ‘What did you do?’ He said we are figuring it out… ‘you know I thought I would add [to it] and be collaborative.’ It was the start of figuring out each other I think… A: For me it was like, I know she is very emotional, so I pushed it… C: I would draw shapes and symbols and he would cover it up, and I was like ‘UHHH!!’ It was a whole journey of trying to understand [each other] because we are so different. J: Yes, you two are worlds apart and coming in with this collection of art is very impressive, because I see what you’re doing yourself, and I see what you’re then adding…and it’s a kind of co-habitating in your art… it’s really developing, your documenting your own worlds. C: I would work with oil pastels and really work on my technique for clean lines and he would go in and mess it all up. A: I had to add to it… C: He is such an explorer, and stubborn and way creative…he is so creative, half the time I cannot keep up with it…I am like, really what were you thinking? A: She tells me not to do certain things and then I have to do them. C: Anytime he asks me about a painting we are working on and I say, ‘oh I like it right now, he adds to it’… and when I say ‘oh I don’t like it right now’, he stops. J: Why would you do that? A: For me it’s trying to push what other people think…for her to tell me, ‘oh I like it like that’, well then what else can I do to it. J: Basically…What else can you do to it [to progress it]? A: I feel this sense of…I don’t know…this weird feeling of trial and error kind of thing. It may be done for the moment and I can leave it hanging, but I can always add to it if I wanted to…We have our own individual paintings in the show, I have two and she has two. And I think it is like showing the audience a little taste of this is what I can do, and this is what she can do, and this is what we both can do together.

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Publisherâ&#x20AC;&#x2122;s Pick

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C: Instead of painting flowers…because he does flowers and I do flowers, we wanted to do something different, something that pushes us outside the box a little bit. J: I do like the collection you brought to Lone Star Art Space. I love that you are exploring new directions from what you are comfortable doing, you are moving away from your comfort zone and taking real risks. And, these risks are coming out real nice. I feel you are exploring more, and that’s good. I see both of you growing together, not separately…together. C: When you spend time with someone so much, I try to go ‘ok this is me... this is me…this is me’… and make sure we are still working on our separate stuff because when we do work together it may end up looking like my stuff or his stuff and you can’t lose yourself in the process.

J: Tell me about the materials you are working with, because you have pulled away from traditional artist materials to something very not so traditional. Tell me about what was your choice about what you were making. What made you select certain materials? C: For me it was the emotions I was going through…for oil pastels, I like smoothness and how I can work with my hands, something about textures, I can put more emotions in it…I like to test myself within the limits of the materials. I have clumps of stuff that has dried on the canvas and I was like, ‘yeah can I draw on this’, there are all kinds of different crevices and I thought how can I get all in there… J: I see them [the lines] very defined and very ‘well-worked’…I like that your combining materials meant to be apart, but they are executed together, adding dimension. A: I think when we started the creation of these pieces, I just wanted to paint and Caroline sometimes wants be affectionate…I can be very focused. C: During the collaboration of these [paintings] in the studio, he was very distant, and I was like ‘why are you not talking to me, aren’t we supposed to be collaborating’? A: When we started painting, I feel like I really wanted to make her frustrated because that is when she puts more emotions in the paintings, so when she starts to get frustrated I give her the canvas. C: Later, I said, I was angry… frustrated…. He said, ‘yeah, I realized that, so I kept pushing your buttons…I really wanted that [emotion] to come out of you’... and that is either the sweetest thing or the rudest thing I ever heard [laughing]…. But…. J: Sometimes in a collaborative effort you pull in and you pull out, then you pull back in and these are the things that come into the works of art…The creative process of how to create these paintings is not something you can create and paint with brushes and come up with it…These images were created by the process itself.

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CONTEMPORARY TEXAS The Fine Arts Magazine

New Works Available

Jim

Hatchett “...his ‘action paintings’ are juxtaposed with explosive movements; Tai Chi inspired sweeps of color and intuitive gestural marks that seem be driven from NewtoWorks Available an outer worldly phantasm of galactic divination .” -G.D.D delgadoconsultingandappraising@gmail.com 210.723.1338

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Newsworthy

TEXANS IN NEW YORK Image courtesy of Hausmann Millworks

This is a two part spotlight based on a unique project that evolved out of some wonderful connections, opportunities, and friendships. Hausmann Millworks spearheaded an exchange of sorts in January 2017. * The first look at this will be directly from the Millworks, while the second part, next month, will be a review of the ‘response exhibition’.

**SPECIAL TO CONTEMPORARY TEXAS, THE FINE ARTS MAGAZINE**

An invited group of 24 artists and writers mainly from San Antonio, and with Hausmann Millworks’ colleagues and friends from New York NY, Brooklyn NY, Lawrence KS, Houston TX, and Savannah GA spent the week of October 17-21, 2016 in New York, exploring the collections of the Hispanic Society of America (www.Hispanicsociety.org). Founded in 1904, the Society is the pre-eminent American museum and resource for the study of Spanish, Portuguese, and Latin American Art and culture and displays important works by El Greco, Velazquez, and Goya.

The Millworks (www.Hausmannmillworks.com) was invited by the institution, who was providing an indepth discovery of the Society and its extraordinary art holdings; most not open to the public. As a bonus, the South Texas group had the opportunity to take notes, sketch and create their own art in the Hispanic Society's galleries, in an anticipation of a respond themed exhibition back in Texas in the months after the trip. Members of the Texas delegation also visited the Dia Beacon, The Metropolitan Museum of Art, and multiple galleries in Chelsea; through self-guided tours and administrative walk-throughs. An exhibition based on the group members' experiences will be on display at the Hausmann Millworks during On and Off Fred Rd Studio Tour to share with the public . The artists’ responses have been created in a uniform 18" x 24" format.

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CONTEMPORARY TEXAS The Fine Arts Magazine

Show: New York Response: The Hispanic Society of America Hausmann Millworks: A Creative Community 925 W Russell Place, San Antonio TX 78212 www.hausmannmillworks.com Opens: Feb 18th and 19th and will run through March 2017. Artists who are responding in the show: Rex Hausmann, Gene Hausmann, David Almaguer, Denise Gutierrez, Dr. Mark E Homer, Hector Garza, Giselle Diaz, John De Leon, Albert Gonzales, Caroline Adam, Darin M White, Shannon White, Kristen Phipps, Michelle Carollo, Jon Cowan, Jung Hee Mun, Mat Kubo, Jessica Ramirez, Tyler Butcher, Alyssa Danna. Special Thanks to those who helped organize the project: The Hispanic Society of America, Dr. Marcus Burke, Renee Hausmann, Richard Teitz, Scott Allen, Carlos Delgado Briones, Tamela Greene, Jim Greenfield and Michelle Carollo.

Contact: Rex Hausmann via e mail rex_hausmann@yahoo.com (for more info).

Image courtesy of Hausmann Millworks

-Rex Hausmann www.rexhausmann.com www.hausmannmillworks.com 210.884.6390 rex_hausmann@yahoo.com

Hausmann Millworks 925 W Russell Place San Antonio TX 78212

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Press Release

NEWS Gallery 195, located in a historic 130 year old building on the corner of Rosewood and Main Street in Boerne, will be opening its doors in late February or early March. The artist-owned-and-operated gallery will highlight the works of seven area artists: Mark Holly, Jim Heupel, Linda Manning, Kim Felts, Robert Lombardi, Grady Jennings, and Virginia Floyd. These artists have long had a dream to open an art gallery in Boerne, and when the space on Main Street became available, they knew the time was right. The goal of the gallery is to provide an opportunity for the artists to display their work and to place their work with a wide range of public and private collections. Mark S Holly, photographer and digital artist, worked with Jim Heupel, wildlife photographer and current president of Boerne Professional Artists, to obtain the space and bring on board the other artists who have joined the group. Oil painter Kim Felts stated “I am excited to be an artist and a partner in this new gallery to serve Boerne and those who come to our beautiful city! We are rolling up our sleeves to create an experience that will inspire the love of art.” The space at 195 Main Street on Boerne becomes available on February 1st, after which it will undergo a facelift, with the artists wielding hammers, paint brushes, and scrub brushes to update the finishes and transform it into an art gallery. “It's going to be a beautiful, open space with so many types of art that there should be something for just about everyone,” Mark Holly stated.

Progress on the facelift and gallery opening can be followed on the gallery’s Facebook page, Gallery 195 of Boerne.

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