Visual Language Magazine Vol 3 No 4 April 2014

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Visual Language contemporary fine art

features

Jeanne Bessette David Yapp Leland Beaman Kit Hevron Mahoney Pat Meyers Charles Dunne

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April 2014 Volume 3 No. 4

Claire Bull www.clairebullfineart.com VisualLanguageMagazine.com - VL Magazine | 1

VL visual language contemporary fine art

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VISUAL LANGUAGE contemporary fine art

features

Jeanne Bessette David Yapp Leland Beaman Kit Hevron Mahoney Pat Meyers Charles Dunne

VL

Claire Bull www.clariebullfineart.com

April 2014 Volume 3 No. 4

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April 2014 Vol 3 No 4 ŠGraphicsOneDesign1998-2014 2 | VL Magazine - VisualLanguageMagazine.com

VL Cover Artist

Claire Bull Contemporary Fine Art Born in Toronto, Ontario in 1959, Canadian artist Claire Bull had a passion for drawing and painting from a very young age. She enjoyed art classes and excelled at art all through school. She attended University taking a double major in English and Psychology towards attaining a Bachelor of Arts degree.

Claire took art classes through the years as evening courses and weekend classes with local artists. She studied at Nova Scotia College of Art and Design (NSCAD) with Andy James and took Medical Illustration and Botanical classes at University of Toronto. She attended Community Colleges and evening classes at local high schools or with local artists where she was encouraged to continue with her art.

Claire is a self-representing artist with EBSQ and you might find her at local art shows in the Muskoka area in the summer. Claire paints in her art studio with acrylics and mixed media on canvas or board, creating florals, abstracts and landscapes and enjoys creating digital art.

The effective use of colour and light is apparent in all of her art, using different techniques to create unique pieces. She paints to music and every painting is different as the music will often dictate the way the art evolves.

Claire’s greatest pleasure is sharing her artwork with others and knowing that it has added some colour to their walls along with a sense of peace and tranquility.

Available on her websites as original art, reproductions, prints (framed or unframed, with or without mats), various cards and gift items.

http://clairebullfineart.com

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Connie Dines Artistic Exposures One Frame At A Time

Reti di Gamberetto

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content Cover Artist Claire Bull

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A Passion for Drawing and Painting.

Painter’s Keys - Robert Genn 11 VL Artist Features - 20 Kay Reinke, Aida Birrittieri, Isabelle Gautier, and Leslie Sealey

CFAI Colors on My Palette 36 Francine J. SĂŠguin Read the up close and personal interviews from CFAI.co Find out more about the artist, their inspirations and how they approach their work.

VL Studio Visit with Jeanne Bessette 46 My take on art is that it should be felt, as much as seen, so my desire is that my work challenges your heart to open, that your senses move you to an emotional response. In Flamenco dancing this is called Duende. Most people comment that they are moved on a visceral level when they are standing in the midst of my pieces, so it seems I am achieving my goal. That works for me.

ARTSPAN New Works - 56 Gina Startup

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VL Studio Visit with David Yapp 62 Like the River Avon, my own creative path has been a meandering one. Growing up on a farm, I spent much of my youth exploring and observing nature along the banks of the Avon and throughout the surrounding countryside. Paint and brush gave me a vehicle to portray the beauty I saw around me.

Hall Groat Sr. 78 Well Worth the Struggle Painting inside the studio is like “duck soup” when using photo reference where you can take a break from your work and find nothing changed when you return. Mother nature has much more to offer the plein-air painters—and that`s where the artist finds real inspiration—outside on location.

VL Interview with Kit Hevron Mahoney 84 My artistic journey began as a child and continues to be a lifelong journey. Creating paintings whether abstract or representational is my form of self- expression. I was greatly influenced by my parents, stepparents and grandparents through their love of the arts and the exposure they gave to me in the form of fine art, music and theatre.

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ARTSPAN Spotlight with Leland Beaman 96 When did you realize you loved art and wanted to be an artist? About age 8 Who has been your mentor, or greatest influence to date?

Norman Rockwell Who is another living artist you admire and why?

Robert Bateman, His design, knowledge and compassion are Great!

VL Interview with Pat Meyer 110 My artistic journey began as a child and continues to be a lifelong journey. Creating paintings whether abstract or representational is my form of self- expression. I was greatly influenced by my parents, stepparents and grandparents through their love of the arts and the exposure they gave to me in the form of fine art, music and theatre.

CFAI.co Showdown Whimsical Art 120 First Place Francine J. SĂŠguin Waterlily Second Place M Allison Up, Up and Away Third Place Linda Dalton Walker Tarot Magician

VL Photographer Charles Dunne 132 I always find myself drawn to making images of the natural part of the world we live in. It’s beauty, whether in great landscapes of our National Parks, or macro shots of our own backyard treasures, is awe inspiring.

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Artist of the Day “Art is not what you see, but what you make others see.” ― Edgar Degas

Sign up today.

Claire Bull Claire Bull is a full time Canadian artist using acrylics and mixed media to create bright colorful art for your home or office. Art available as originals in various sizes here for purchase

http://clairebullfineart.com

artistofthedayvl.blogspot.com If you want to be featured as an Artist of the Day, contact Visual Language Magazine.

VisualLanguageMagazine@gmail.com

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Carol Jo Smidt

www.caroljosmidt.com

carol@caroljosmidt.com VisualLanguageMagazine.com - VL Magazine | 9

VL visual language magazine Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Contriibuting Editor Lisa Neison-Smith Consulting Editor Nancy Medina Feature Contributor Robert Genn Painter’s Keys CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II VL Sponsor ARTSPAN Eric Sparre Advertising Contact: VisualLanguageMagazine@gmail.com Marketing and Development Executive Director Business/Management Stacey Hendren

All Artwork is Copyrighted by the Individual Artists.

Visual Language Vol 3 No 1

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http://www.melizabethchapman.artspan.com

Your social influence Recent studies of young people in the act of choosing music have shed some light on how the art game works.

Teenagers in an online study were asked to rate a wide choice of unknown bands and new songs. One test group listened in isolation while other groups (known as “social influence groups”) were allowed to share their opinions and interests as they listened. In most cases the better songs (by industry standards) tended to rate highly, while the poorer songs tended to be lower in the kids’ estimation. The middle ground of “average” songs is where things got interesting. In the groups that shared the experience, a perfectly ordinary song might go to the top if just a few started enthusing about it.

Peter Hedstrom of Oxford University says the study shows that social influence is a major factor in explaining people’s actions. “Popular songs became more popular,” he said, “and unpopular songs became less popular when individuals influenced one another. The more influence, the more difficult it becomes to predict what’s going to be popular.”

Artists who use the gallery system may have noted their work gathering dust while inferior work is going like hot cross buns at Easter. In many cases, all that’s missing is the action of social influence. Also, many of us have noted “runs” where for a while our own work is really ringing the register. This, incidentally, is one argument for having fewer dealers and greater inventory in each--dealers can be ready when the bonanzas happen. Funny how a dealer’s remark, “We sold five of this artist’s work last week” will increase the stampede. People feel better liking things that others also appear to like. Many people simply like doing things that other people do.

This is why the convention of the solo show will continue to work for a while yet. People are gregarious. Red dots are contagious.

The Painter’s Keys - Robert Genn

The Painter’s Keys Robert Genn

Robert Genn’s Studio Book

An extreme example is Andy Warhol and his prints. For a while everyone wanted at least one of his repetitious, inexpensively-done silkscreens of celebrities. Warhol himself was his own best advocate. His art was the art of media--even a trip to his hairdresser was magazine fodder. He engineered events, photo-ops and timed publications that made people aware. Dealers, critics and celebrities got on the bandwagon. People soon saw other people getting his stuff and thought they ought to have some, too.

Best regards, Robert PS: “Toss in a stone and begin your own ripples of influence.” (Joy Cooper) Esoterica: It may seem contrary, but something could be said for letting social influence come about by natural causes. Without the benefit of ballyhoo, quality is often quietly noted and acted upon. These days, a high percentage of collectors prefer to think they are making up their own minds. Grants, endorsements, hype, or too much gallery pressure can actually be the kiss of death. The idea is for the artist to be discovered, appreciated and collected--one friend at a time. More art is quietly and subtly sold on Saturday nights in the dining rooms of friends than this world dreams of.

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Janna Zuber Elemental Ingredients Mixed Media

Above: Sea of Tulips

JannaZuber.com email: jannazuber@verizon.net

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Sunflowers #8 VisualLanguageMagazine.com - VL Magazine | 13

Valerie Travers Working in Acrylic, Oil, Pastel, Mixed Media Landscapes, Seascapes, Abstracts, and Florals

Fresh as a Daisy

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Terry Stanley Fine Art, Portraiture & Illustration

Peridot and Pearl

TerryStanley.com Green Bay, WI

Email: info@terrystanley.com

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C A S A R I E T T I C A S A R I E T T I

Michelle & Robert Casserietti

Blue Contemplation 48 x 60 Blue Contemplation 48 x 60 Trees

www.casariettistudio.com www.casariettistudio.com 970.

389.8996 8996 970. 389. www.casariettistudio.com casariettistudio@gmail.com casariettistudio@gmail.com

970. 389. 8996 casariettistudio@gmail.com

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McCoy’s Gaited Horse Artworks Your equine art connection!

In memory of Jessica Marie Moore 9/6/1985-1/30/2014

Jonelle T. McCoy “Live Again”

jonelle-t-mccoy.artistwebsites.com VisualLanguageMagazine.com - VL Magazine | 17

Claire Bull Fine Art

Lady in Waiting

Fairy Tale

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Canadian Artist CLAIRE BULL FINE ART

gabrielebitter.com

clairebullfineart.com

http://fineartamerica.com/profiles/claire-bull.html VisualLanguageMagazine.com - VL Magazine | 19

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Aida Birritteri Isabelle Gautier Kay Reinke Leslie Sealey

Visual Language窶認eatured Artists this month delve into the beauty of each of the four different painters and their unique approach to their work.

Aida Birritteri finds freedom and joy in her watercolors, leaving oils behind.

Isabelle Gautier embraces minimalism while celebrating the colors of nature spilling over her compositions.

Kay Reinke resolves her work with luministic landscapes and incredible vivid abstracts. Leslie Sealey celebrates painting and print making and with her work suggests a story to the viewer to complete using animal characters.

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Kay Reinke

http://www.kayreinkeart.com

Experience and Feelings Art has been a part of my life since I was 12 years of age, when I began studying at The Houston Museum of Fine Art and the Texas Art Institute. The daughter of a journalist, who was also a cartoonist for the Army newspaper during WW II, I was always encouraged in my artistic efforts.

Painting has always been an exciting experience to me. The mixing of creamy paints and the application of vibrant colors provide a sensual experience. The focus of my luminist landscapes is light and the affect of that illumination on nature. I want my paintings to suggest experiences and feelings in a way that sparks viewers’ imagination, draws them into the paintings and makes them want to stay. It is my belief that art is evidence of God’s willingness to let us share with him in the expression of the beauty and majesty of our world.

Exploration

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Top: Wilderness Morning Middle: Sunrise on the River Bottom: Firey Fields VisualLanguageMagazine.com - VL Magazine | 23

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Leslie Sealey

http://lesliesealey.com

Art That Brings a Smile Born in 1967 in Ft. Collins, Colorado, and raised in rural Maryland, as young girl Leslie Sealey’s main interests were horses and art. Her favorite illustrations to use as inspiration for her own art were Beatrix Potter’s anthropomorphized animal drawings and the whimsical illustrations of British artist Norman Thelwell. Thelwell’s drawings often depicted scenes of little girls and their short, fat ponies. These early influences provided later inspiration for her whimsical paintings of hippos and other animals.

Sealey attended the University of Arizona, where she earned a BFA in Studio Art. She moved to Texas in 1991, and after a career as a photographer she began painting full-time in 1997. Her love of animals continues to influence her artwork, and one of her favorite pastimes is placing animal characters into playful and colorful imaginary worlds.

She currently works from her home studio in San Angelo, Texas. “In the last couple of years, I have focused primarily on painting and printmaking. Switching back and forth between the two media seems to enhance the development of new ideas.” You can learn more about Leslie Sealey on her website, www.lesliesealey.com

Queen Lucy

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The Annunciation Hippo Steeplechase

Above Left: Our Lady of Perpetual Tears Right: Tally Ho

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Aida Birritteri

http://www.aidabirritteri.artspan.com/

Surroundings What started with a desire to have a natural setting to live and work in has evolved into an appreciation for my surroundings. The natural setting throughout Hunterdon County, NJ and the Delaware Valley region affects local residents and visitors to New Jersey and New Hope, Pa positively. I create watercolors en-plein-air from these surroundings.

I always drew as a child and it wasn’t until my teenage years that I began to experiment with color and paint. As a young, immigrant child living in America, I often found myself doodling and drawing as a way of expressing ideas and thoughts that were too complex to put into words and often bigger than life at the time. Later as a young artist, and throughout my fine art, undergraduate studies, I began to look closely at the works of the European founders of Modernism.

Today, it is essential for me to continue reviewing American painters of the past and the present who reflect the history, culture, time and place in which they live and work.

I am also painting the figure in watercolor. I work quickly and deliberately. The results can sometimes be simple and poetic like a Haiku. I embraced watercolor with a passion and left oils behind. I have been painting watercolors en-plein-air year after year and working from my studio space as well.

Cuban born, I came to the United States of America at the age of 3. I am happy and grateful to say that my life has taken its shape in the United States and fortunate to have come this far in my journey as an artist living in Hunterdon County, New Jersey. email: aida2paint@gmail.com

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Towpath, Lambertville NJ

Autumn, Ken Lockwood Gorge

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Isabelle Gautier

http://www.IsabelleGautierOnline.com

Painting is the Path For Isabelle Gautier painting is an integral part of her life.

French-born Isabelle Gautier expresses her emotional bond between nature and herself using strong colors. Gautier grew up in Normandy, just few miles away from the MontSaint-Michel, in western France. The sea and the Normandy bocage remain her inspiration. Most of her acrylic paintings are executed with palette knife to allow the deep pigments of the paint to stay intact.

Collectors recognize her abstract style in her minimalistic or impressionistic pieces through her unexpected colorful strokes. Her expressionistic paintings are sought for their strong raw masculine storkes but still feminine thanks to their colors and iridescent golden marks.

They are a nice balance between our Yin and Yang.

Isabelle Gautier likes to say: “My quest is not to create the illusion of reality but to suggest with colors and composition the inherent nature of the aesthetic object�.

All Frozen

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Spring Breaking the Ice

Eiffel Tower

Bought by HGTV for their Smart House in 2013 you can also find her art at Muse & Co Fine Art Gallery, Roswell, GA Atlanta MADE, Atlanta, GA Bradford’s Interiors, Nasville, TN VIEW GALLERY, Ridgeland, MS Atelier Gallery, Charleston, SC and in different shows across United States.

West of the Mississippi

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Birgit Huttemann-Holz Encaustic Paintings and Monoprints

Renaissance

www.brightstroke.com

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abstract art paintings Filomena de Andrade Booth filomenabooth.com VisualLanguageMagazine.com - VL Magazine | 31

STEPHANIE PAIGE

Moon Glow 72 x 72 Mixed Media made with Textured Marble Dust Plaster

La Jolla . Santa Fe . San Diego . Denver . Scottsdale . Napa Valey . Walnut Creek . Lagua Beach

STEPHANIEPAIGESTUDIO.COM Solo Show Heart & Soul March 22, 2014

Avran Art + Desugb 32 | VL Magazine - VisualLanguageMagazine.com www. avranart.com 540 S Coast Hwy #106, Laguna Beach, CA 92661 (949)494-0900

https://davisandcompany.squarespace.com/ artists/#/linda-mccoy/

Linda McCoy

Davis & CO Fine Art Gallery Linda McCoy Studio/Gallery Fine Art Instruction 209 S West Street, Mason, Ohio VisualLanguageMagazine.com - VL Magazine | 33 www.lindamccoyart.blogspot.com

Aspen S P A C E S Lelija Roy lelija.net lelija@lelija.net

Art on a Whim Gallery

100 N Main Street Breckenridge, CO 227 Bridge Street Vail, CO artonawhim.com (970) 547-8399

James Ratliff Gallery

671 State Route 179--The Hillside Sedona, AZ jamesratliffgallery.com (928) 282-1404

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Terrye Philley “Discovery”

Wet & Wild; size: 14” x 11”; oil on canvas by Terrye J. Philley

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CFAI.co Colors On My Palette

Francine J. Séguin http://fjseguin.wordpress.com/ http://www.cfai.co/#!colors-on-my-palette-interview/cy2z

When did you realize you loved art and wanted to be ‘an artist’?

As a young child, I was always drawing and doing crafts and I enjoyed delivering my art in neighbors’ mailboxes. My father was a printer and I remember vividly the smell of inks and the piles of papers. My youth was shared between music and art.

Who has been the greatest influence from your past to mentor you to this career?

My paternal grandmother was an artist. I always ran to her studio when visiting her to see what new art pieces she had created. I could always count on my family’s encouragement and support.

Who is your mentor today, or another artist you admire and why?

After painting in watercolor and acrylics for years, I discovered mixed media. This was a whole new world opening up to me. There are a few artists I admire very much: Flora Bowley, Tracy Verdugo, Robert Burridge, Alisa Burke. They have helped me loosen up and trust my own creativity. I am always amazed by the process of creating a new painting.

What is your favorite surface to paint on? Describe it if you make it yourself.

I normally use gallery canvas, but I love Strathmore Aquarius II Watercolor paper.

What brand of paints do you use?

My absolute favorites are Golden Fluid Acrylics.

Do you have a favorite color palette?

I like to use vibrant colors and love the Quinacridones (Nickel Azo gold, Magenta), Turquoise (Phtalo) and Green Gold.

What is your favorite color in your closet?

Anything blue, particularly turquoise.

Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z 36 | VL Magazine - VisualLanguageMagazine.com

Monarch

Life is in Constant Movement

Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z

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LAURA REED Abstract Collage Paintings

Essence Mixed Media 24x18

Life Experiences laurareed.artspan.com 38 | VL Magazine - VisualLanguageMagazine.com

The Legend of Aurora Borealis Acrylic, 24 x 36

After the great flood, the planet tipped on its axis, plunging the North into long periods of darkness. In the North there lived a group of people who had been spared from the flood. But when they could no longer see the sun or feel its warmth, they became sad and afraid; cold and hungry.

The Great Mother felt compassion for the People and told them to gather their belongings and walk south, where the sun would shine and provide bounty and warmth. But because there was no light and little food, many of the people perished on the dark, cold journey south.

In a stroke of genius the Great Mother covered the top of the world with mountains and hills made of ice crystals. The ice crystals captured the sun’s rays and reflected them into the black sky and so illuminated the nomads’ path. They could then journey south under the

NANCEE JEAN BUSSE

www.nanceejean.com www.facebook.com/nanceejeanbusse 970.261.2028

shifting, humming rainbow of light and became the forerunners of many of the great tribes of North America. But the white bear stayed in the Great North.

He stayed because he loved the beauty of the inky darkness, the music of whale song and sea birds, and the deep comfort of solitude.

See Additional Paintings and narratives at www.nanceejean.com VisualLanguageMagazine.com - VL Magazine | 39

Collectors Discover New Art Daily.

International Voices - Speaking Through Art

Professional Artists - Join the CFAI Family.

Membership Includes: •

Personal Coaching on Individual Art Marketing Strategies

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Roseanne Snyder Diversity in Color and Compostion

The Food Chain

Hands On

roseannesnyder.blogspot.com VisualLanguageMagazine.com - VL Magazine | 41

Yellow Shoes

“Focus on Art” Suzanne Muldrow photoartbysuzanne.com 42 | VL Magazine - VisualLanguageMagazine.com

Yellow Day Lily 12 x 12

VL REES

Contemporary Realism and Beyond www.vlrees.com www.tippingpaintgallery.com

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CHAPMAN Elizabeth Chapman Contemporary Abstract Artist

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melizabethchapman.artspan.com Colour . Texture . Beauty VisualLanguageMagazine.com - VL Magazine | 45

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Jeanne Bessette Storyteller

www.bessetteart.com 46 | VL Magazine - VisualLanguageMagazine.com

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VL Gallery Visit

Jeanne Bessette

Storyteller My take on art is that it should be felt, as much as seen, so my desire is that my work challenges your heart to open, that your senses move you to an emotional response. In Flamenco dancing this is called Duende. Most people comment that they are moved on a visceral level when they are standing in the midst of my pieces, so it seems I am achieving my goal. That works for me.

I use a variety of materials from paint, sponges and brushes to ink, oil pastels and graphite. I’m seldom attached to any one medium and really enjoy the tactile experience of using lots of different materials. I also paint with my hands a lot. It’s not uncommon for me to have a bit of paint under my fingernails at dinner parties. My friends don’t seem to mind.

At the heart of it, I am a storyteller. My inspiration comes from the very fabric of life and the emotional reactions we have about being alive and our connectedness to each other. Our hopes and dreams are all a part of what moves me to put paint to the canvas. I just reach right in and grab a feeling and begin painting. Frankly, if you walk away from my work and feel nothing, then I feel I have failed.

I would not call myself a mixed media artist but I do tend to be open to just about anything that jumps into my hand while I am working. Because of this my work leans toward being very textural and invites you to want to touch and feel it, which I always encourage.

I tend to work instinctually through each piece as I layer and scrape away paint from the previous day, adding and subtracting until the visual and the mood feel right. It’s really a dialogue of sorts between the canvas and myself.

The brush, canvas and paint tell me what they need and I respond mostly without thinking. This offers me the opportunity to stay connected to the piece and stay in the creative zone.

It’s not uncommon for there to be dozens of layers of paint and varnish each bringing more depth to the story. As I add each new layer and build on what was there before it creates a feeling in the work that invites you to fall into the painting filled with depth and luminosity.

I move very quickly as I paint so I work on several pieces at a time throughout the day revisiting a piece that calls out for attention.

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Frankly, I can’t imagine a world without art, not just because I am an artist but also because it feeds the very soul of who we are. It fills our world with color and beauty and offers us a chance to question. Art has a language all it’s own and each time a new artist steps up and has something to say that is unique it gives us a chance to expand our hearts and minds.

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Gallery Visit

Jeanne Bessette

I paint because I simply have to. When I’m not in the studio for extended periods of time I can get mighty cranky. It’s like therapy for me. It allows me to move through my own personal challenges and helps me process my world in a way that is productive and healing. You could say I self medicate with

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paint. The result is a communication and a connection with others. I often find that people are attracted to my work when they are growing through their own challenges and a certain piece speaks to that part of them. I always say that each piece has a perfect home.

My work stretches you to reach for something inside yourself that you might not even know is there. It invites you to see differently, to feel more alive and connect to your heart.

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Gallery Visit

Jeanne Bessette

I use a lot of symbolism in my work. I love symbols. The ladders represent aspirations to move higher, to expand beyond our comfort zones and grow. Circles are all about completion and the spirals are my little circles of life. I often create figures reaching for the stars or they are reaching seemingly in celebration of something overcome or aspired to. I also often use letters and numbers as a design element but there is a deeper meaning to them for me. It is rooted in my enjoyment

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of the study of sacred geometry, which offers ancient beliefs about who we are and how we are alive. The painting elements using stencils in my paintings are pure play and freedom. I discovered that I love spray painting and might have been a graffiti artist in another life. It brings out the rebellious teenager in me. Sometimes I’m compelled to write something inspirational in a piece to offer another layer of enjoyment.

Orange Glow 18 x 18 inches Oil on Panel

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VL Gallery Visit

Jeanne Bessette

Peonies in Edwardian Silver Teapot on Lace 12 x 12 inches Oil on Panel

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I’m often asked how I know when a painting is done. When I’m staring at a piece longer than I am painting, I’m usually very close. There’s a funny feeling in your heart that let’s you know when it is finished that is actually hard to describe. You just know when you feel it. With that said, I try to call it finished when I feel I am at the 80% mark.

This way I don’t over paint and get caught up in the minutia and bring it past it’s spontaneity. At least that is my goal.

My work can be seen and purchased in over a dozen galleries across the United States and patrons In the U.S. as well as the U.K, Australia and Canada vigorously collect me. I am enjoying a strong interest in my work and teach other artists as a way of staying connected to my community.

I believe art and artists are a crucial gift to our world and I for one am one grateful artist.

Delightful Anticipation 20 x 16 inches Oil on Canvas

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artspan.com Gina Startup

http://ginastartup.com

Tomorrow

Fast as You Can

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The Perfect Place to Find Art

A Colorful Day

Blue Leaf Dragonfly

ENGLES Carol Engles

carolenglesart.blogspot.com carolengles.artspan.com VisualLanguageMagazine.com - VL Magazine | 57

Mirada Fine Art

‘Best Art Gallery’ -5280 Magazine, 2010 & 2012 ‘A Style-Maker’ -Luxe Magazine, 2010 ‘BestAmerican Colorado Gallery’ Art Awards, 2012 & 2013 ‘Art -Denver Lover’s Escape’ Life Magazine 2010 ‘Best of Denver’ -Westword Newspaper, 2010

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5490 Parmalee Gulch Rd. Indian Hills, CO 80454 (only minutes from Denver) www.miradafineart.com 303-697-9006 Featured Artiss: Andrew Baird, Pablo Milan, Lyndmila Agrich, Jeanne Bessette, Svetlana Shalygina, Laurie Justus Pace Bruce Marion, Time Howe, Wynn| 59 VisualLanguageMagazine.com - VLAllen Magazine

miradafineart.com

Lynne Miller Jones

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Oil Paintings

lynnemillerjones.com

B LO S S O M I N G T R E E S

Eric Bodtker ericbodtker.com

davis&co fine art gallery

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Artspan Studio Visit

A Painter’s Journey David Yapp

Cutting through the chalk downland of Salisbury plain, in the southern English county of Wiltshire, is the gently flowing River Avon. The river runs south from its source in Pewsey Vale, through the medieval city of Salisbury, to the sea at Christchurch. It was along this river that I grew up on a small farm on the edge of a village not many miles from the ancient monument of Stonehenge.

The Wiltshire landscape is one of Neolithic burial sites, windswept hawthorn encrusted plains and chalk stream valleys, strewn with villages dating back to pre-Norman times. And above all this is the sweeping drama of the constantly changing sky.

The landscape and towns of the county are rich in history and have fed the artistic hearts and minds of many writers and artists. The penultimate scene of Thomas Hardy’s novel, Tess of the D’Urbervilles, is set at Stonehenge, and his fictitious city of Melchester, featured in Jude the Obscure, is based on the city of Salisbury. Artists Sir John Constable and J. M. W. Turner found a source for creative expression in the gothic splendor of Salisbury Cathedral and in the rugged forms of Stonehenge.

Like the River Avon, my own creative path has been a meandering one. Growing up on a farm, I spent much of my youth exploring and observing nature along the banks of the Avon and throughout the surrounding countryside.

Paint and brush gave me a vehicle to portray the beauty I saw around me.

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My interest in observing nature developed during my teens. A family friend who was studying zoology shared with me his fascination of entomology (the study of insects). We searched the water meadows, for exotic-looking beetles and metallic clad dragonflies. At night we set up a light trap to see what nocturnal winged beings we could discover. I started to paint some of these finds in watercolor, along with the flora they inhabited.

In the following years, at the local college, I made another connection to the animal kingdom. The biology professor, Patrick James, was an eccentric and interesting chap who had majored in zoology. He spent much of the lecture time talking about his fieldwork—time spent diving, and dodging sharks in the Caribbean. I had planned on working towards a zoology degree, but I soon realized that I was more interested in observing nature than analyzing it scientifically. After seeing my plant and animal drawings Mr. James suggested I look into pursuing wildlife illustration.

Bird Island, 9 x 12”, Oil on Canvas

As a precursor to that I attended Salisbury Art College. The foundation art course I took was an opportunity to explore a range of disciplines, from drawing, painting and printmaking to illustration, and then to decide which one to pursue. That first year was a challenge for me, as for the first time I had to really get to grips with the rudiments of drawing, painting and . . . seeing.

Following on from this course I studied for a diploma in wildlife illustration in Carmarthen, Wales. This was an opportunity to establish and sharpen the skills I had developed the previous year. Many profession-

al artists and illustrators came in to tutor us. They passed on to us their great enthusiasm for their given disciplines. One such person was the artist Gordon Stuart.

I did not fully appreciate at the time how accomplished Gordon was as an artist, with work in the collection of the National Portrait Gallery in London—he painted the last portrait of the poet Dylan Thomas.

Gordon encouraged me in my nascent abilities when I had little confidence in them and said, “You will always paint.” He also wrote to me a letter of encouragement to wish me well on my first solo art show.

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VL David Yapp Studio Visit

Mid Summer Oak, 9” x 12”, Oil on Canvas

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That first solo show was held at Oxford University in 1988. I owe much to my sister Maria, not only for suggesting the idea but also for getting me connected to the appropriate parties to make it happen.

After completing my time at college in Wales, it became apparent that I was not really cut out to be a wildlife illustrator, but was more interested in painting landscapes. One college professor said he saw me as someone who wants to be down a country lane painting scenery—I think a “picture maker” was how he called it. And so, eventually, after having pursued several interim jobs, that is what I did.

The next five years proved to be very rewarding, but also financially rather challenging as I pursued my art. Initially, as I sought to pursue my art full-time, I felt like I had just walked off the end of a plank into the deep. I literally prayed to God for help, and He strengthened me in a way I had not known before.

He also brought people into my life that spoke words of direction and encouragement to me.

I set myself up with a stool, drawing board and watercolors, traveling by bicycle and train to paint the local scenic towns and villages of Hampshire and Surrey. Much to my surprise, I had many people approach me to ask if they could purchase my paintings, and I was able to sell many on the spot! I continued pursuing this way of working, creating artwork for exhibition and commission, for five years. It was a rewarding time in which I met many interesting folks on my painting adventures.

Eventually, looking for a more stable and predictable income, I decided to train in graphic design.

Digital design was a new world for me as I got to grips with design principles and learned an array of software programs. The differing perceptions needed for design were an interesting complement to the more organic nuances of painting.

One such person was Trevor Martin, an assistant pastor at my local church, who was also a practicing graphic designer. He took a look at my work—back in those days it was on slides, as we had not entered the digital era. I remember how he would press the slide viewer to his eye and declare “how delightful” as he viewed the artwork. For me this was one of those glimmers of light and encouragement that we all need along the road—especially when you are trying to find direction.

Trevor suggested that for the next six months I just focus on doing pen and watercolor views of townscapes and landscapes, and then at the end of it have an exhibition. This gave me not only a goal, but also a focus.

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Studio Visit

David Yapp

It was when I moved to the Bay Area, that my interest in oil painting was ignited. I started to read about the California plein air painters, a majority of whom were oil painters. In England, the soft light had lent itself to watercolors, but now in California, I could see that the more intense Mediterranean light lent itself to rendering the landscape in oils.

I am fortunate to live in San Francisco, not far from the Golden Gate Bridge. This gives me ready access to Marin County, it’s coastal Headlands and Mount Tamalpais. Further afield is the often fog-laden Mendocino coast, and to the East, the Sierra Nevada mountains. All great locations for plein air painting.

Croissanterie 58” x 18” The Secluded Lake— Mount Tamalpais from Bon Tempe 16” x 20”, Oil on Canvas

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Above: God is the Anchor of My Soul 28x22 Left: Gently Letting Go International Guil of Realism Best of Show

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VL David Yapp Studio Visit

I tend to paint on canvas, as opposed to panels, as I like the “give” that you get from the non-rigid surface. I enjoy using heavy impasto and find that a palette knife is easiest for thicker applications of paint. But I prefer the softer more subtle effect that a natural bristle brush can bring, so I am experimenting, working with both in tandem.

At the moment I am reading and looking at landscape art from those who have already trod the path—John F. Carlson, Richard Schmid and David Curtis, for example. I am also looking at a diverse range of artists who are not associated with the plein air tradition, such as Richard Diebenkorn, and many British artists, such as John Piper, Samuel Palmer and Eric Ravilious.

I am blessed to live a five-minute walk from the de Young Museum, here in San Francisco, so I have had the opportunity to view the ongoing collection of art and the special exhibitions. Recently on show was David Hockney’s, “A Bigger Exhibition,” a collection of his huge canvases painted in Yorkshire. His paintings en plein air are a leap away from what is often considered as plein air art, but are nonetheless thought provoking and inspiring.

So I continue to pursue my painting adventures, sometimes as in life, with a halting step.

I see that the beauty in a scene does not always come from a totality of unhindered harmony. The juxtaposition of disparate forms—a shattered rock, a sinuous storm-contorted tree, or a glacier

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creek—can converge into a harmonious whole, or, may leave us with an unresolved tension.

Similarly, life does not provide us with a clear unobstructed path, but in navigating the obstacles we can discover a greater meaning and beauty. As plein air painters, may we not only paint a pleasing scene, but portray in our art this more complex beauty.

Lands End, Summer Fog, 9” x 12”, Oil on Canvas

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Studio Visit

David Yapp

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Pyramid Rock, 6” x 12”, Oil on Canvas

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Studio Visit

David Yapp

Mt Tam from Bon Air

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Sanda Manuila Allegorical Paintings

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sandamanuila@artspan.com email: sandaman@att.net "Portrait of a Poor Artist" Oil on Canvas 16 x 9 VisualLanguageMagazine.com - VL Magazine | 77

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Hall Groat II

Painting Tips

By Hall Groat Sr.

WELL WORTH THE STRUGGLE Duck Soup Painting inside the studio is like “duck soup” when using photo reference where you can take a break from your work and find nothing changed when you return. Mother nature has much more to offer the plein-air painters—and that`s where the artist finds real inspiration—outside on location.

Constantly changing light and shadow patterns can confuse the unseasoned painter although this experience may offer the opportunity to discover the true essence of your subject at hand. The courage to destroy areas of your landscape painting for a greater result are not for the faint of heart. You may lose the whole thing because there is no safe way to do great art.

An artist who has not experienced this is probably unworthy of mention.

However, when you are willing to transform your composition in search of better art, you may discover an extraordinary work of art and feel the process well worth the struggle.

Burlington Vermont Woodland II 36 x47, Oil on canvas, Hall Groat Sr., $7000

HallGroat.com

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Monhegan Island 36x48 in., Oil on masonite, Hall Groat Sr., $7000

Green Lakes Dusk Winter Sky 36x48 in., Oil on canvas, Hall Groat Sr. $7000

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ASHKENASI

Michal Ashkenasi

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Abstract Figurative and Minimalistic Paintings

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Laurie Justus Pace Ellepace.com Mirada Fine Art. Denver

Robert Kelly Home. Park City

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Rare Gallery. Jackson Hole

South Hill Gallery: Lexington

RareGalleryJacksonHole.com

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Dyan Newton Capturing the Light

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ey n o h a M n o r v e H t Ki

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Scared Shadows

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Kit Hevron Mahoney my art

I was born in Hartford Connecticut but grew up in Denver, Colorado, which I consider my true home as I have been here since I was two months old.

My artistic journey began as a child and continues to be a lifelong journey. Creating paintings whether abstract or representational is my form of self- expression. I was greatly influenced by my parents, stepparents and grandparents through their love of the arts and the exposure they gave to me in the form of fine art, music and theatre.

I earned a degree in medical technology at the University of Colorado out of desperation; for during the 60’s, a career as an artist was very much discouraged.

After seven unsatisfactory years of working as a med tech I enrolled at the Colorado Institute of Art where I studied to become a graphic designer and subsequently went back to teach design and drawing for 15 years. During that time I also started the greeting card company Graphic Creations, which went international. After eight years I sold the company to find my self-expression through the art of painting. Fellow instructors and fine artists Ivy Delon and Judith Scott encouraged me to study with them using pastels as my medium.

Simultaneously, I studied at the Art Student’s League of Denver with Doug Dawson and Ramon Kelly and took a variety of workshops with such artists as Kim English and Clyde Aspevig.

Thanks to their mentoring I found my true passion as a visual artist. I spent the next 10 years teaching and painting. My new art career began through small shows at the Art Institute as well as many home shows. During that time I met a glorious friend, Pat Sampson, who loved to travel and photograph. We have since then spent many

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years behind the lens of a camera photographing places around the country and world. Thanks to Pat I have found a lifetime of subject matter and experiences are all incorporated into my paintings.

Eventually my art was accepted into many galleries and private collections both locally and around the country.

In 1998 I gave up my career as a teacher and graphic designer to pursue painting as a full-time career. It was during this time that I met John K. Harrell who was a major influence in my pursuing painting as a living. I moved into a professional studio space, which I shared with Anita Mosher and was next door to John’s studio. During my time at that studio I began painting in oils using brush and palette knife and continue to do so today. Several years later John suggested that the three of us open a working studio gallery. We formed a partnership, found a space on all S. Gaylord St. here in Denver, Colorado, and now are in our 12th successful year.

Two years ago we asked artist Kelly Berger to join our partnership and have subsequently moved to a location in antique Row in Denver on South Broadway.

I am deeply appreciative of my three partners who have made my lifelong desire to be a career artist possible. That is not to say that all the beautiful friends and family in my life have been as influential and supporting to shape the person and artist that I am today.

Currently, my work is the expression of abstraction where I use the elements of color, light, shape and texture to create imagery of an interpretive nature.

Shining Stars

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Nature’s Jewels

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Magnificent Rhythms

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Kit Hevron Mahoney

“Dream Myst - Private Collection”

“Glorious Poppies - Kaiser Permanente - Denver, CO”

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“Chroma and Dimensionality-Washington Park Grille -Denver, CO” “I create paintings to be uplifting in order to give the viewer some respite from today’s busy and fast paced world of information overload. In addition, I want my work to awaken something within and speak the spirit and energy that inspired me during the creation process.

As an artist I find that my work is ever evolving. It is a continual process of reinventing myself in this rapidly changing world where we are continually exposed to new ideas and possibilities.

I began painting in pastels, which allowed me to paint and draw at the same. From there I moved to oils where I created impressionistic representational imagery with brush and palette knife from images photographed in my many travels around the world. I have now added the expression of abstraction where I play with the elements of color, light, shape, texture

and composition. All of my work is a joyous and challenging expression, as it requires the painting to come from within.”

At this stage of my life and career, I no longer find myself worried about which subject might sell or painting to please galleries. My challenge is to stay in the place of painting purely from my heart.

I consider myself so fortunate to have the passion to express myself through the act of fine art painting, a lifelong spiritual journey. It gives me a sense of purpose and a connection with something larger than myself.

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kylewoodfineart.blogspot.com

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Kyle Wood

ARTIST

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ART Contemporary

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“Pouring Color Into Your Life”

Contemporary Artist

Kimberly Conrad

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Winter Aspens 24x24x1.5 Acrylic on Canvas

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ARTSPAN Artist Spotlight

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Leland Beaman

When did you realize you loved art and wanted to be an artist?

About age 8 Who has been your mentor, or greatest influence to date?

Norman Rockwell Who is another living artist you admire and why?

Robert Bateman, his design, knowledge and compassion are Great!

What is your favorite surface to create work on or to work with? Describe it if you make it yourself.

Masonite, it doesn’t buckle and it takes charcoal well.

What are your favorite materials to use?

Acrylic and charcoal then oil glazed over that for depth.

Do you have a favorite color palette?

The Rubens colors.

How often do you work on your artwork? How many hours a week?

I paint six days a week, 4 hour a day.

What is the one thing you would like to be remembered for?

Expanding the human consciousness.

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Where’s Brother Charley

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Leland Beaman

I am the Vine

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Yellow Rose of Texas

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ARTSPAN Artist Spotlight

VL Leland Beaman There are many culprits that can crush creativity, such as distractions, self-doubt and fear of failure. What tends to stand in the way of your creativity?

Fear.

How do you overcome these obstacles?

Pray.

What are your inspirations for your work?

Love and Gratitude.

What is your favorite way to get your creative juices flowing?

Walking in the natural world.

Which work of yours is your favorite? “Stock Market�

Western Thunder

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The Jazz Hand

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ARTSPAN Artist Spotlight

VL Leland Beaman

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A Weighty Situation

Tuscan Market

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ARTSPAN Artist Spotlight

VL Leland Beaman

Stray Men

Firewood

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Tiger by the Tail

Getting to know you Q&A What is your favorite color in your closet? Green What book are you reading this week? Toastmasters

Do you have a favorite television show? The Big Bang Theory What is your favorite food? Stir Fry Veggies What color sheets are on your bed right now? Red What are you most proud of in your life? My four young sons.

Who would you love to interview? Jesus Christ.

Do you have a passion or hobby other than painting? Loving my Wife.

Who would you love to paint? Nicholi Fechin If you were an animal what would you be and why? An Elephant, they seem wise.

If you were stranded on a desert island and could only take three things, what would they be? Water, food and inspiration.

Share something with us that few people know about you. I am Autistic.

If you could live anywhere in the world, where would you live? Arizona

Cash Flow

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Mary Jo Zorad contemporary fine art

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Lisa McKinney Lisa-McKinney.com

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Red Kimono 15 x 30

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DAILY PAINTERS

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ABSTRACT GALLERY

Barbara Van Rooyan Blue Canyon II

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Pat Meyer

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VL Studio Visit Pat Meyer Nurturing Beauty It seems that most women dedicating their lives nurturing and taking care of others. While Husbands, Children and Loved ones are the most important part of my life their comes a timewhen you move from the back burner to the front and that is what happen with my art severalyears ago. After retiring as a Senior VP of a large corporation and serving on the Board of Directors it was my time to explore another part of myself with my true feelings and desires. My passion iscreating beautiful things that others would also enjoy viewing. When viewing the world around me I see great beauty that God provides in every turn and for one moment in time I would like to translate what I see into an expression of my feelings toward their own beauty. This seems so difficult at times since how can you improve on the natural beauty that already exist in each flower, landscape or person. This is the great challenge and enjoyment of art for me delighting in the learning experience each time I pick up my brush.

During this journey of art I have met the most amazing artist and now friends that have helped mentor me. Judy Crowe gave of herself in my learning experience along with Qiang Haung, Robert Johnson, Scott Burdick, Daniel Keys and John Budicin.

These great artist and their love of art have greatly influenced my personal style of painting. My goals from here are to continue to grow with each brush stroke, to achieve an even higher level of expression and add even more professionalism by studying and painting daily.

My hope for you is as you look deep into the heart of each of my paintings that you will discover they are not just beautiful pieces of art but that each piece conveys it’s own special message of hope, love and endurance. Carrying a message from God of peace, joy and beauty that he has blessed our lives

Many days and nights are spent evaluating and learning how to express myself through art. The pure joy of being so lost in the painting that you are creating you do not even realize what time it is. That complete emersion of the subject is so thrilling that you want your excitement about the subject to come through on the canvas.

The simple beauty of flower can make you stop and take pause for just that instant knowing that enjoyment is all around if we take time to look for it.

Now to continue that instant and hold on to it on the canvas for a lifetime what better gift can you give.

Spring Fling 12 x 9 Oil Right Page: Sunflower 24 x 16 Oil

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Right Page: Church in Truchas Breakfast at Tiffany’s

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Studio Visit Pat Meyer

All Dressed Up 11 x 14 Oil

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Studio Visit Pat Meyer

Pansy Dance 12 x 16 Oil

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Delicate Pink 12 x 12 Oil

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Studio Visit Pat Meyer

Getting Ready 24 x 36 Oil Right Page: Remembering 9 x 12 Oil

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Bob Marley

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CFAI.co Artist Showdown January 2014 - Whimsical Art

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CFAI.co Artist Showdown

First Place

Francine J. SĂŠguin Waterlily

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Second Place M. Allison Up, Up and Away

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CFAI.co Artist Showdown

Third Place

Linda Dalton Walker Tarot Magician

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DianeWhitehead.com

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Diane Whitehead “Animals are my muse. The scratch of the paw, pounce of a hoof, gesture of the head, alert ear, quiet stride, powerful shape, ancient wisdom.

All come to play with the shapes I see as I paint. “

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Lary Lemons

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Kay Wyne

Karen Balon

Jill Saur

Palette Knife Artists

Kim McAninch

Tom Brown

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Marion Hedger

Carol Schiff

Karen Tarlton

Judy Mackey

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Noreen Coup

Nancy Medina

Mark Bidstrum

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CFAI.co March Artist Showdown “Do you have what it takes?”

Lisa McKinney

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Spring 2014 Juried Competition “Figurative�

Juried Show AD

Carol Peterson

$500 in total cash prizes Plus much more! www.cfai.co/#!juried-shows/c19ne

CFAI.co

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PhotographerSpotlight Spotlight VLPhotographer Suzanne Stevenson Charles Dunne

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VL Photographer Spotlight Charles Dunne

“I have photographed many things in the past twenty-five years. Photography is the great medium for sharing ideas and images. With a world of subject matter, along with plenty of conceptual topics to choose from, a photographer has a limitless well of material to work from. But I always find myself drawn to making images of the natural part of the world we live in. It’s beauty, whether in great landscapes of our National Parks, or macro shots of our own backyard treasures, is awe inspiring.When I am composing an image of, say, a bee pollinating a flower, or the box turtle that invaded our garden and began dining on our last cantaloupe, I am struck by the thought that if someone were not here to capture it, this beautiful scene would vanish, without having ever been noticed or appreciated. For me, the thought that there are multitudes of transitory, beautiful moments of time in nature is all the impetus that I need to get my camera and head outdoors!”

Sliding Daisies

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Daisy #8 http://www.rsaimages.com

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VL Photographer Spotlight Charles Dunne

Field of Flowers

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Photographer Spotlight Charles Dunne

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Butterfly 838

Bloom 144

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VL Photographer Spotlight Charles Dunne

Seven Wildflowers http://www.rsaimages.com

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Bachelor Button Pair http://www.rsaimages.com VisualLanguageMagazine.com - VL Magazine | 141

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YEARWOOD MARK YEARWOOD

MarkYearwood.com "Convection" 36x36'' Mixed Media/Canvas 2014

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JERRY OSBURN

California Beach

www.vinod www.vinodipinte.com Vino Dipinte Art Gallery

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San Angelo, TX 76903

African Elephant

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REDHEAD GRAPHICS STUDIO Design Services for Artists

custom art websites custom blog design event flyers workshop announcements postcards business cards brochures calendars promotional items email marketing artist newsletters professional art books social media page design digital media kits artist videos image editing http://redheadgraphicsstudio.com

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M. Allison

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VL OilPaintingDVD.com Step by Step Demonstrations

OilPaintingDVD.com

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Hall Groat II

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artists of texas

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NO WHERE BUT TEXAS

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Debbie Grayson Lincoln Texas Contemporary Western Illustrator

NoworNever-Debbie.blogspot.com DebbieLincoln.com

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Felicia Marshall feliciamarshall.blogspot.com VisualLanguageMagazine.com - VL Magazine | 153

http://davethepaintingguy.com/podcast/

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