Visual Language Magazine Vol 4 No 1 January 2015

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Visual Language

Andrew Baird BairdStudios.com

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Features: Andrew Baird . Slav Krivoshiev . Sallie-Anne Swift . Demian Dressler . Elizabeth Chapman

January 2015 Volume 4 No. 1

contemporary fine art

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visual language contemporary fine art

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Portrait Painting By using abstract expressionist technique to compose the most beautiful female faces, Baird also reminds us that – while soul may be divine and eternal – even the prettiest face is a secret, minute world of whirling particles, brought together in aesthetic perfection by Great Mother Nature – and here enhanced by one of the brightest contemporary artists working in portraiture today.

By combining the unlikely duo of portraiture – which thrives on likenesses and naturalness – with abstract expressionism – which tries to avoid likenesses and subjects from nature, Andy Baird has created a new and original hybrid art form: the action-painted portrait. Such originality and invention by mavericks creates new areas of value in art. Baird is one such genius.

Bairdstudios.com

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Andy Baird . Baird Studios

Victoria Pendragon

“Flute Song, Moon�

victoriapendragon.artspan.com

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Andy Baird A different slant on Portrait Painting.

Painter’s Keys - Sara Genn 11 Top Artists to Collect 22 Vanessa Katz, Valerie Travers, Elaine Vileria

The Value of Line Andy Baird 50 I was born in Denver, Colorado. There is a thing about being a long-time Colorado family, so I like to point out that I am a fifth-generation Colorado native. The first Baird came here in 1867. Colorado has always been my home, and I cannot think of any other place as home.

Sallie-Anne Swift 72 “Do or Die”

“We had purchased a new apartment and I was wanting to do something special for the entry, so I decided to do a HUGE 8’ x 6’ painting… this was definitely going to prove to be one of my biggest challenges.”

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Who Stole the Fairy Tales Slav Krivoshiev 96

“The hidden metaphors in his compositions challenge the viewer to look far beyond the surface. His colors and use of texture are metaphors in their own right. Yet as one stands before his work warily, so exactly does the allegory in the painting mimic the other reality - is it the fear one might recognize in a scene expressing a reality kept at a distance? His works intimately connect places and times of familiar stories and myths with unfamiliar visions.

“A Creative Psychology” 124 By: Barry W. Scharf “Now that we have entered the new year of 2015 I have been contemplating what makes a person creative and how they arrive at an expressive output. I often go through thoughts of how I can better myself and improve my work and a few questions always come to mind. The why and how of what makes me an artist.”

“Interview with Elizabeth Chapman” 132 At what age did you realize you were an artist?

As long as I can remember I was creating and making stuff. I was always an artist but did not realize it until I was about 45 and working as a High School art teacher. It was there that I realized I was more of an artist than a teacher.

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It’s the Little Things that Count Demian Dressler 158 So, everyone is wanting to know: what is your new “mystery medium”? What can you share with us about how you create your beautifully vibrant abstracts?

Well, the short answer is abstract macro photography, hybridized with traditional painting using acrylics, watercolors, and whatnot. I apply these painted media on what I call a screen, often film, paper or plastic, and then I spend ridiculous amounts of time finding the perfect field to capture a photographic image. This image is then transferred to panel. Many people don’t realize that the photographed field is often less than an inch square when they look at the wall art. On some of the final works I will add further layers of paint, or use chips of diamonds, meteorite dust, rose quartz or other minerals, some gold leaf, or whatever lends itself

Index Directory of Artists and Galleries 180 In alphabetical order you can easily find all featured artists and advertising artists, along with featured galleries in our index directory.

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Mark Yearwood

“After Summer Storm" 48x36 Mixed Media on Canvas

MarkYearwood.com Select Prints available at Nuvango.com/markyearwood

Richard Levine Pastel Painter Landscape and Figurative

“Stonington Harbor�

www.richardlevine.net

Davis & CO Fine Art

email: artisanrichard@gmail.com

dandcgallery.com

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visual language magazine Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Contributing Editor Lisa Neison-Smith Consulting Editor Nancy Medina Feature Contributor Sara Genn Painter’s Keys CFAI Contributor Kimberly Conrad Feature Writer Dave Justus Feature Editor Art Reviews Hall Groat II Feature Contributer Barry Scharf 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 Magazine Vol 4 No 1

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coreywest.artspan.com

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Robert Genn’s Studio Book

January 2015 I’m standing in a white room with a digital projector that blasts a square of white light on a white wall. In the centre is a shaky drawing of a light switch. A cartoon finger comes up from the lower left hand corner and flips the switch. The projection goes black, then light, then black, then light, while an accompanying soundtrack reverberates off the walls, “Click. Clack. Click. Clack.”

Someone mutters, “He’s taking a swipe at that guy who won the Turner.” “What guy?” asks his friend. “You know, The Lights Going On and Off Guy.” The Turner Prize, named for J. M. W. Turner is presented annually to a British artist under 50. Organized by the Tate, the winner gets £40,000. In 2001, Martin Creed won for his installation, Work No. 227: the lights going on and off, in which lights in an empty room go on and off at 5 second intervals.

Today at the National Gallery of Victoria in Melbourne, the work of Scottish artist David Shrigley is showing. To give you an idea, we’ve put some examples of his work here. In addition to Light Switch, 2007, the show includes a robot vacuum with felt tipped pens attached to it, which drives around making drawings on the floor, an inflatable, badly-drawn swan, and a wall painting of a black dot. There’s also a room that invites museum-goers to take part in a life drawing session, though the model isn’t live. Instead, a disproportionate sculpture of an anatomically awkward man is the focus. At timed intervals it blinks and releases liquid into a bucket at its feet. Visitors apply themselves earnestly to their masterpieces, with a museum docent on hand to replenish supplies of paper and pastels.

The Painter’s Keys - Sara Genn

The Painter’s Keys Robert and Sara Genn

Out in the foyer, the artist has built a freestanding gift shop and stocked it with tea towels, buttons, books and postcards. “He’s saying what everyone’s feeling,” someone whispers near the cash register. I fondle a button that reads, “I speak for everyone.”

Sincerely, Sara PS: “At a time when political correctness is valued over honesty I would also like to say “Right on!” (Madonna, on live television, while handing Martin Creed the Turner Prize for Work No. 227: the lights going on and off) “In the end, everything is a gag.” (Charlie Chaplin) “Wit is educated insolence.” (Aristotle) Esoterica: Also on view at The National Gallery of Victoria is the first retrospective of the work of French fashion designer Jean Paul Gaultier. “Fashion is not art. Never,” says Gaultier. Nevertheless, red spotlights and velvet-lined rooms showcase the designer’s underwear-as-outerwear, man-skirts, garbage bag dress, kilts made from flea market finds, mermaid gowns and pink satin cone-shaped bras. “Fashion is about what you look like,” says Gaultier, “which translates to what you would like to be like.” Says David Shrigley, “I don’t think I’ve ever made any conscious decision to be a comic artist, but to me there’s something quite anarchic about comedy.” As for the Turner Prize -- Shrigley was a finalist in 2013. His iphone App Light Switch can be downloaded for free, so that you, too, can turn the lights on and off.

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miradafineart.com

Andrew Baird Nancy Original Acrylic on Canvas 53” x 45”

Mirada Fine Art is truly proud to represent

andrew

BAIRD 5490 Parmalee Gulch Rd. Indian Hills, CO 80454 (only minutes from Denver) www.miradafineart.com 303-697-9006 info@miradafineart.com

5490 Parmalee Gulch Rd. Indian Hills, CO 80454 (only minutes from Denver) www.miradafineart.com 303-697-9006 info@miradafineart.com

Mirada Fine Art owner Steve Sonen and the work of Andrew Baird.

f i n e a r t Life in Motion

“Tango Charm� 11 x 14 inches Charcoal

Connie Chadwell www.conniechadwell.com

Phyllis DeQuevedo “A Work in Progress”

One Heart 23” H x 4” W x 7” D

mantikstudio.com

Jonelle T. McCoy

“Fire Run� 30 x 24 inches

Blending texture and color for an equine portrait with depth and richness.

jonellemccoy.com

“Forest Path"

Oil

www.caroljosmidt.com

11" x 14"

carol@caroljosmidt.com

Michal Ashkenasi

“Abstract 1”

michalsart.com

Michal Ashkenasi Abstract Figurative and Minimalistic Paintings

“Abstract 2�

michalsart.com

Adirondack Series: The Great Range From The Brothers, October 54” x 84”

John Whitton Bria JohnBria.com

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TOP ARTISTS to Watch and Collect

Vanessa Katz

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Elaine Vileria

Valerie Travers Visual Language Magazine Featured Artists this month delve into the beauty of each of our selected artists and their unique approach to creativity.

Vanessa Katz’s Trees, landscapes, animals and everyday life provide her with a wealth of subject matter and abstraction and contemporary non-representational work gives her the freedom to create purely from her imagination and emotions.

Valerie Travers Her subjects are quite varied but she is fond of seascapes and skies - they form a large part of her work. This is more than likely due to the fact that she grew up and lives on the small island of Guernsey, surrounded by beautiful beaches.

Elaine Vileria Although I enjoy working in both genres of abstraction and realism, my style in the past couple of years, has taken a turn toward surrealism and fantasy. In addition to this style, I have developed a fondness for the technique of pointillism, where the intensity of a color fades, as you lessen the dots, or, you simply meld them together with another color.

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Vanessa Katz

www.VanessaKatzArt.com

Vanessa Katz moved from London, England, to the desert in Southern California with her husband, daughter, and doggies sixteen years ago. The contrast between the dull, grey, cold, rainy days in the city and the bright sunny color in the desert was dramatic and was the inspiration to begin painting again after a long absence.

“The sunshine makes everything look so vibrant and alive and makes me feel that way too!”

Trees, landscapes, animals and everyday life provide her with a wealth of subject matter and abstraction and contemporary non-representational work gives her the freedom to create purely from her imagination and emotions.

“I hope to evoke emotion and a stirring of the heart through my work and when my collectors let me know this is their experience, it fills my heart with joy knowing how art can connect and nourish us at such a deep level”.

Vanessa attended Putney School of Art in London and still attends many workshops to learn new techniques from other artists. She finds the process of learning while experimenting creates much excitement and is very empowering.

Vanessa invites you to visit her website and her very active Facebook page and looks forward to seeing you there. www.VanessaKatzArt.com www.Facebook.com/AbstractArt4U

“Azure” 30 x 30

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“Shoji 2” 11X14 Collage on Paper

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Vanessa Katz

www.VanessaKatzArt.com

Infinity 60 X 36 - Acrylic, Ink & Gold Leaf finished with Poured Resin

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Vanessa Katz

www.VanessaKatzArt.com

Perspective 40 x 30

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Eternal 60 X 36 Acrylic on Cradled Wood Board finished with Poured Resin

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Valerie Travers

http://valerietravers.com

Valerie began her journey into art when very young but it was 22 years ago when she became passionate about it. Being at home looking after her two children gave her the opportunity to spend time developing her skills. From the very first year, she exhibited and won awards and has continued in that vein ever since.

Her subjects are quite varied but she is fond of seascapes and skies - they form a large part of her work. This is more than likely due to the fact that she grew up and lives on the small island of Guernsey, surrounded by beautiful beaches. “I paint mostly in oils and acrylics but pastels are also a favourite and I dip into these from time to time. My paintings have increased in size over the years and I now paint on canvases measuring approximately 30 x 40 inches. Obviously if commissioned to paint something smaller I will, but that is my preference.

I paint intuitively for the most part and often begin by picking up a brush and loading it with whatever colour appeals. From there the magic begins and I develop the painting as I go along.�

Valerie is represented by Davis & Co Gallery, Spring, Houston, Texas.

Website:- www.valerietravers.com

Glowing - Oil on Canvas - 24 X 30

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Fire in the Sky - Oil on Canvas 30 x 20

Reflective - Oil on Board 25 x 16 VisualLanguageMagazine.com - VL Magazine | 31

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Valerie Travers

http://valerietravers.com

Holding On a Little Longer - Oil on Canvas - 30 X 40

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Valerie Travers

http://valerietravers.com

Spring Optimism - Acrylic on Canvas - 24 x 30

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Disappearing Tide - Oil on Canvas - 30 x 40

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Elaine Vileria

http://elainevileria.artspan.com

Over the years, I have had the fortune to teach art, to students pre-K through 12th grade. As far back as I can remember, I knew that art would be a major relevance in my life. My favorite Christmas present of all time was an art instruction book, complete with drawing paper and pencils, to help me learn to draw.

Although I enjoy working in both genres of abstraction and realism, my style in the past couple of years has taken a turn toward surrealism and fantasy. In addition to this style, I have developed a fondness for the technique of pointillism, where the intensity of a color fades as you lessen the dots, or, you simply meld them together with another color.

I have been asked more than once, “How do you come up with these ideas? How do you envision the subjects that you draw?�. I guess it would be compared to an author writing a fiction or fantasy book, but the idea is created in the mind of an artist - and that visualization is transformed through the hand and tools of the artist.

Chromium 6

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I received my Masters degree from Nazareth College, in Rochester, NY. My work has been in exhibitions throughout the United States, as well as in France. I have solely developed and coordinated three art exhibitions for cancer survivors.

The Old Fishing Shed

Marathon Man 14.5 X 19.5

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Elaine Vileria

http://elainevileria.artspan.com

Aspen 19.5 X 18

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Mechanical Creativity 15 x 20 VisualLanguageMagazine.com - VL Magazine | 39

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Elaine Vileria

http://elainevileria.artspan.com

Solar Eclipse Right: 1920’s Dancer 14.5 X 20

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Joyce Pihl

Fall in the Woods

Autumn Five 18” x 24”

Milkweeds With Red 18” x 24”

http://joycebpihl.org/

Joyce Pihl

Big Red 24” x 30”

http://joycebpihl.org/

Filomena Booth Energy . Color . Passion

filomenabooth.com

filomenabooth.com

Dyan Newton Colors of Life

“Virginia Pride�

http://one-painting-a-day.blogspot.com Contact: dyansart1@yahoo.com

Aspen S P A C E S

Dream Weavers 48 X 48 (c) Leija Roy

Lelija Roy

aspenspaces.com

aspen.spaces@gmail.com

BAUER Logan Bauer

Logan Bauer spent much of his elementary and secondary school years overseas. He took his first painting class in London, England at the age of 13 years old. Upon his return to Arizona, he continued to take art classes at Phoenix College, and it was not until recently that painting stopped being a part time endeavor or hobby, but it became a full time commitment.

He presently paints out of his studio located in Northern Arizona near Prescott.

LoganBauer.com

Landscapes, Life Drawings, Still Life, Figurative Portraits

LoganBauer.com

Photo by Lydia Bittner-Baird http://bairdstudios.com/

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The Value of Line Andy Baird

http://bairdstudios.com/

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Andy Baird “The Value of Line”

I was born in Denver, Colorado. There is a thing about being a long-time Colorado family, so I like to point out that I am a fifth-generation Colorado native. The first Baird came here in 1867. Colorado has always been my home, and I cannot think of any other place as home.

I knew I would be an artist when I was seven. I used to watch my aunt paint horses, and I won a schoolwide art contest in second grade. After high school, I went to a commercial art school. I discovered a love for oils and figure painting, and I went to the University of Northern Colorado for my degrees in Art Education.

As a freshman, I ended up in graduate-level painting courses, along with a few required under-grad courses. By my sophomore year I had to catch up on required courses, one of which was ceramics.

I was not happy, until I learned that ceramics involved using a wheel and kilns. I loved working on the wheel and my painting fell by the wayside. My master’s project was on Native American pottery, and I figured out the secret to Maria Martinez’s metallic-black hand-polished finish. My pots were hand polished, disassembled and reassembled, resulting in ancient look.

By the time I became a high school teacher, galleries were selling my high-end pottery. Robert Redford bought my first pot sold in my Santa Fe gallery, and that got me national attention.

When blown-glass overtook the pottery market, I returned to painting, always looking for current trends. When I travel, I visit galleries and look for interesting and intriguing art. I like to get the pulse of what the nation is thinking.

I had a student so advanced that he needed new, challenging assignments. He made excellent contour drawings, so I asked him to “draw” a face by scribbling, without an outline, using chalk pastels.

This became a standard assignment in my advanced drawing classes. I was inspired to work with the technique myself, using liquid paint.

http://bairdstudios.com/

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My high school let me paint in an empty classroom in the summer. I spread canvases on the floor and walked on them, experimenting with different paints and tools. Dribbling paint prevented the precision needed for small subjects, so I worked on large canvases. My process evolved into walking around a stretched canvas, better control over the streaming, being able to visualize the image from a distance, and creating fun, new images. My first show was a success, so I felt that I was working on the right art at the right time.

My paintings are sometimes compared to Jackson Pollack’s. Long before I started this technique, I had seen reproductions of Pollack’s paintings, and I did not care for them. After seeing Pollack’s original work, I became an absolute fan. I love how the many layers of paint create depth to his paintings.

There is also a connection to Chuck Close, whose pixel-like sections compose portraits, and Georges-Pierre Seurat, who used dots of paint to compose scenes. Optical blending enables the perception of the image. I might call my work “Seurat meets Jackson Pollack meets Chuck Close”.

My work is a branch of the American Pop Art tradition, similar to Warhol’s Campbell Soup cans. I talked to friends, clients, and artists, and noticed what is popular in check-out lines. That led me to deliberately work with a glamour look, almost the commercial look from fashion magazines. I follow the overall Pop Art philosophy, putting art in daily life, off the pedestal.

I’m selective about the images needed for that “look”. I’m inspired by ads, photos with the right light, shade and image, or students or friends with promising faces. Whatever the source, it’s up to me to create the look of popular culture in my paintings.

I also paint images of things that had a big impact on my teenage years – the Statue of Liberty, the Campbell’s Soup can. I met Andy Warhol at a show in Denver. Warhol wrote a dedication to me in a copy of his book (Andy Warhol from A to B and Back Again), “To Andy from Andy”, with a little Campbell’s Soup can drawing. Meeting him made such an impression on me, and that’s why I’m so glad to be able to exhibit the Pop art character of my work.

Right Page: La Gitana

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Andy Baird “The Value of Line”

Angela King Gallery, New Orleans

http://bairdstudios.com/

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My studio is a wonderful, old, pine-paneled cabin in Evergreen, Colorado. Each time I visit a painting, I drip paint either to lose the image or strengthen it. I build layers of color until I see in the painting that perfect quality that I'm looking for. After a month of work, a completed painting will contain thirty to forty colors. The beauty of the process is that the face appears with a personality, a life of its own.

I love to create. I've been an artist of many genres: a painter, potter, sculptor, photographer, jewelry-maker, builder. I've been incredibly lucky that my family has always championed me as an artist. I know no other life. I meet with other artists of all abilities and work with different media and styles, but I especially love the development of my drip-paintings. Often, the end result of my work surprises and fascinates me.

I like it that people find it interesting to study each painting, to think about its creation, and to trace the lines of paint. This is artwork that actively involves the viewer, and when a viewer is invited to participate and enjoy, the art is more complete. The fascinating diversity of faces and the endless ways to portray them captivates and connects us all.

Photo by MaryLynn Gillaspie

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Ken Olin 48 X 60 Oil on Canvas http://bairdstudios.com/

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Photo by Lydia Bittner-Baird

STORY

Ken 48 X 60 Oil on Canvas

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Andy Baird “The Value of Line”

Victor Reading Oil on Canvas

STORY

http://bairdstudios.com/

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http://bairdstudios.com/

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Andy Baird “The Value of Line”

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Andy Baird

“The Value of Line”

http://bairdstudios.com/

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Malcom Genet, an art consultant in New Orleans, writes that, “Andy Baird is the first artist to unite drip technique with portrait painting. In the art world, we call these post-Modern hybrids ‘original,’ in the sense that they make painting new again. Andy Baird stretches our imaginations by pairing two unlikely styles into clearly innovative works.”

The traditions that inform my work are explained by art consultant Michael J. Miller, who writes, in part: “Andrew Baird has created a new and original hybrid art form: the action-painted portrait. He combines the unlikely duo of portraiture, which thrives on likenesses and naturalness, with abstract expressionism, which tries to avoid likenesses and subjects from nature.

Such originality and invention by mavericks creates new areas of value in art. Baird is one such genius.

Surrealist painters in 1920’s Paris were first to fling or drip paint, marveling at the ‘energy traces’ and lyrical beauty of ‘accidental art.’ In the 1940s, American painters expanded on Surrealist ideas and methods, eliminating anything recognizable from their art, creating the first American abstract expressionist works.

Jackson Pollock began non-traditional drip-painting, composed on the floor on an un-stretched canvas, radicalizing painting for the next half century or more.

Andrew Baird is in the direct line of the abstract-expressionists, but one who reverses the order again, by using this American avant-garde technique to paint specific figures.

Another impetus for abstract expressionists was molecular/atomic physics. Pop culture emerged around ‘atomic theory’, and Pollock’s flinging paint was splattering lines of energy that reflected the orbits of electrons around nuclei, which in turn echoed that of the planets orbiting around the stars; this theme was often expressed by the progressive artists of the day.

When Andrew Baird, one of the brightest contemporary artists working in portraiture today, uses his abstract-expressionist technique to compose the most beautiful female faces, he reminds us that even the prettiest face is a secret, minute world of whirling particles, brought together in aesthetic perfection by Great Mother Nature, and enhanced by the interpretation of a uniquely talented artist.”

With input from and thanks to Malcom Genet, New Orleans, and Michael J. Miller, San Francisco.

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Andy Baird

Right Page: Photo by MaryLynn Gillaspie

http://bairdstudios.com/

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discover art . inspire collectors

DAVIS&CO f i n e a r t g a l l e r y Home is where the art is. dandcgallery.com

engage discussion . celebrate life

dandcgallery.com

Sherry Hogan Davis&Co

COONTS

Bob Coonts

“Painted Lady” Acylic on Gallery Wrap Canvas 48” X 72”

www.bobcoonts.com

Corey Watson

coreywest.artspan.com coreywatsonart@gmail.com

Laurie Justus Pace

Night Gathering 36 x 36 Oil on Canvas Mirada Fine Art Denver

LauriePace.com

Black and White

Midnight Roundevous Table for Two 36 x 36 Oil on Canvas The La Jolla Gallery The Spirit of the Paint Viewing a Laurie Justus Pace painting is a rich experience that drips with color and emotion. Her passionate works are alive with movement, boldly created with a wide brush and a palette knife. She loves working with oils, dramatically carving out the paint and transferring her energy to the canvas and ultimately on to the viewer.

http://www.ellepace.com/paintings-for-sale/

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Sallie-Anne Swift

http://sallieswiftart.com/

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Sallie-Anne Swift Do or Die... Undertaking a 3D extra large format painting.

We had purchased a new apartment and I was wanting to do something special for the entry, so I decided to do a HUGE 8’ x 6’ painting… this was definitely going to prove to be one of my biggest challenges.

The only area big enough for me to attempt this was in the middle of the construction zone of the new apartment. It made sense to paint it in the apartment we were remodeling, with its stripped concrete floors and the beaten up walls that were still in need of new plaster and paint… it was perfect… I could make a HUGE mess and it didn’t matter.

I found a fabulous stretched canvas supplier in Orange County (artscanvasonline.com) and ordered my 8’ x 6’ deep edge stretched canvas.

http://sallieswiftart.com/

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My New Studio

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Sallie-Anne Swift

Arrival of the Canvas

http://sallieswiftart.com/

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To my sheer delight it was delivered to me the very next day, I was not expecting such a quick delivery service! I gazed at the blank canvas before me for hours, contemplating what I was going to paint. It had to be something special, this would be the largest 3D painting I had ever attempted. Yes I did say 3D, these are my newest creations and something I had given a lot of thought to. At this point the largest I had done of these 3D paintings was a 30” x 40”. Was I ready to attempt one this big… well why not, “you’ll never know unless you give it a go” and I would give this my best shot! I had spent a lot of time testing my process, and resourcing materials, I want my work to be UV light protective and I will only use materials with longevity, this is extremely important to me as an artist because I want my work to last longer than a lifetime.

And so it begins… I wait until the weekend when the tradesmen aren’t there and lean my canvas against the dirty wall, starting on the texture for the canvas first. This always acts as a guide for my paintings, a little like a sketch. I feel a little under pressure to get as much done as possible before the workmen return on Monday morning so the following day I begin painting. When I pack up my paint and wash my brushes and take a long look at my painting, I am disappointed, it’s not quite what I had planned. I wait until the following weekend and then paint over the top of it with white gesso so I can start again.

I have to admit I was feeling a little overwhelmed at this stage, thinking that this painting might get the better of me, but I felt very determined. And so 2 weeks later I was back in front of my huge canvas painting over the top of my disappointment. By the end of the weekend I was satisfied that I had made a good base painting and so I drew up a plan (to scale) and ordered an 8’ x 6’ x .25” thick piece of acrylic with 22 holes to be drilled at exact points (as marked on my plan). The acrylic was the most expensive part of this painting… I had to make this work now after spending so much money on materials!

Applying Texture

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Sallie-Anne Swift

Applying Texture

First Layer of Acrylic http://sallieswiftart.com/

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Second Layer of Acrylic

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Sallie-Anne Swift

Attacking the Acrylic

We were off on holidays for five weeks and the acrylic would arrive during this time so I planned on finishing upon our return. This gave me more time to plan and think about the next layer that would be painted (in the reverse) of the base painting on the canvas. I am so inspired by the ocean and our new home looks straight out over the Pacific Ocean so this would be my inspiration for my painting.

My acrylic had arrived when we returned and it was extremely heavy and awkward to maneuver, it required help to get this into a position where I could paint comfortably and reach every inch of it. I decided to place it on top of the canvas, in the middle of the living room floor, not something I would normally do, as I like to look at the base painting while I paint the reverse of it. So now I would be painting blind and simply guessing where things where but I wanted to protect our new floorboards. I placed plastic under and around the canvas and plenty of drop sheets to protect the new floors, took a deep breath and began mixing my paint, ink and epoxy resin. This preparation is vital to the outcome and I like to work quickly once I start with this so I have to be very well organized before I start. http://sallieswiftart.com/

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Sallie-Anne Swift

I am ready and I start applying my combination of mixtures onto the surface of the acrylic, I’m pretty much guessing where I think everything should go, I know the look I want to achieve but I am so nervous, I cannot afford to mess up this piece of acrylic, it cost so much!

I am able to walk right around the acrylic laying flat on the floor and this helped me get the perspective right.

I can’t work fast enough, my mixtures where getting thick and tacky but I am almost done. I am not sure if there is enough paint on this piece and I am concerned my brush strokes are not big enough for this size canvas. I remember standing back and thinking I wish I had an old broom to use for a brush. But as it turns out I needn’t have worried, I turned on the ceiling fan above it, made sure all the doors where closed (as it must be in a dust free environment) and walked out the door leaving it to dry.

I don’t think I slept much that night. I had to wait 24 hours before it would be dry to the touch and dry enough to move; it seemed a very long 24 hours. Finally it was dry enough to move and with the help of my willing husband we managed to move it in front of the canvas that it would sit above, and against the wall it would hang on. I was thrilled when I saw the two pieces together, it was even better than I had imagined.

I stayed up late that night putting it together with the stainless steel standoffs, all 22 of them. Again I had to be extremely accurate where I drilled my holes to accommodate the standoffs, they had to line up exactly and there was no room for error.

Working on the Acrylic

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Sallie-Anne Swift

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Sallie-Anne Swift

Finally it was together and I was looking at the finished piece, it would still take another 24 hours to be completely dry but it was done and ready to hang. Oooh.. hang? This was one extremely heavy painting and I hadn’t given much thought to how I was going to hang it. I found some fabulous dry wall hooks on amazon.com that would hold 200 lb each – perfect! When the tradesmen arrived for work on Monday morning they could hang this for me. It took 5 men to hang this painting but it’s up and in it’s place and every time I walk in through the front door, I marvel at the sight of it and think to myself… I did that and I feel so proud that I achieved this goal, this enormous 3D painting looks fabulous and the lighting makes all the difference in the world.

For years I would transform my dining room into a studio, pushing the table and chairs to the side, throwing down drop cloths to cover the floors and then setting up my portable easel on wheels and my portable cart that housed my paint, it would quickly became my work area.

It’s no wonder I would get depressed when we were having dinner guests. This meant packing away everything and moving it all into a storage unit so the room could once again resemble a place where we could entertain. I’ve lost count how many times I have done this!

Eleven months of preparation, designing and planning the remodel of our new apartment will finally see me in my own dedicated studio…

YIPPIE! I’m still pinching myself! It is a home studio, with plenty of space (even enough room for an 8’ x 6’ painting and plenty of natural light with breathtaking views that stretch across the city to the mountains that are soon to have snow capped peaks on them. No more packing away my paints and brushes… I am one very lucky and very happy artist!

Hanging the Painting http://sallieswiftart.com/

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Sallie-Anne Swift

Finished Studio

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Finished 3-D Painting

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Eric Bodtker

Provence Villa with Les Alpilles

http://www.ericbodtker.com/

“On the other Side of the Dream” Oil on Canvas 24”x24”

Sanda Manuila sandamanuila.artspan.com

Roseanne Snyder

“Coming Winter”

roseannesnyder.blogspot.com

Vicki Rees

Visit my website. vlrees.com TippingPaintGallery.com

Barbara Haviland

Red Hibiscus 24” x 20”

Barb’s Garden Art https://barbara-haviland-art.squarespace.com/

Suzy Pal Powell

“At the Threshold” 36” x 60” Oil on Linen

“Kissing Cousins”

suzypal.blogspot.com suzypal.com

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Studio Visit

Slav Krivoshiev

Who Stole the Fairy Tales?

http://slavkk.in.gallerix.ru/

http://slavkk.in.gallerix.ru/

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Slav Krivoshiev

Who Stole the Fairy Tales?

Slav Krivoshiev is a passionate Russian artist that shares his stories vividly on canvas. Visual Language first featured his work in January of 2014 and invited him again to be a featured artist in this issue.

ate morality, questioning how we, as a society, relate to people with different beliefs and the impact our evolving modern civilization has on cultural practices and the ethical norms.

The hidden metaphors in his compositions challenge the viewer to look far beyond the surface. His colors and use of texture are metaphors in their own right. Yet as one stands before his work warily, so exactly does the allegory in the painting mimic the other reality - is it the fear one might recognize in a scene expressing a reality kept at a distance? His works intimately connect places and times of familiar stories and myths with unfamiliar visions. Upon further exploration, one will discover the figures in each painting hidden and woven into the fabric of the canvas through his active use of texture. Krivoshiev has said that his works of art evalu-

Krivoshiev’s paintings present a culture and a time far from our present reality, while bordering on the edge of days that may come ahead. In this scope of work there is a connection and continuity that is seeded from today’s world unrest. Krivoshiev associates current day with days lived two thousand years ago. His stories cross eras, glimpsing moments past and present as narratives develop in our minds while our eyes search the surface for substantial details. The paintings descend into the depths of an unknown time, a time of yesterday while reflecting the tension and unbalance in our world today.

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Above: Keeper of the Temple Left: Beyond the Banned Land

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The Cross in the Sea

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Prayer for Light

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Slav Krivoshiev Who Stole the Fairy Tales?

Oriental Flowers

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“Mythological Constructivism” I define art that is created as a social myth. Constructive basis is the mythological story, a fragment or a reference to certain mythological hero, passage or detail, but considered in the problems of the modern social environment, resulting in a new mythological experience, a new reflection, the result of a new social environment, where a person lives, seeking and developing. Or the environment in which obliged to live, according to the circumstances are obviously controlled social power, but he may often monitor and control them (the circumstances), psychosocial myth of modern man. Art, which has claim, does not give the answer, and ask precise questions to the problems of modern life.

Mythological narrative transforms into an inverted form of the contemporary reality. The ethical norm of the contemporary society transforms into an inverted norm to the normative content of the myth.

Mythological Constructivism uses the principle of enantiodromia – a natural law saying that any given thing will sooner or later change into its opposite. First described

by Heraclitus, it later occupied a central place in Jung’s psychology and psychotherapy, explaining the interaction between the opposites as well as the development of processes in time.” Slav Krivoshiev

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Slav Krivoshiev Who Stole the Fairy Tales?

Legend of Istanbul

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Turkish Coffee

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Slav Krivoshiev Who Stole the Fairy Tales?

Starvation

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Women on Board II

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Slav Krivoshiev Who Stole the Fairy Tales?

Metaphysical Managing General Ship

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Women on Board III

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Slav Krivoshiev Who Stole the Fairy Tales?

Two Angels

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Nancy Medina Painting Under the Tuscan Sun A Painting Dream Getaway During the Peak of Poppy Bloom Season June 6-13, 2015 Tuscany, Italy

www.nancymedina.com

“Celebrating the stories and legends of Texas and the Great Southwest through original art, prints and books.�

601 E Hwy. 82 - Nocona, Texas 76255 . 940-825-7226 www.TexasTrailArtGallery.com . Facebook: Texas Trails Art Gallery Tuesday through Saturday 10 to 6 . Sunday 1 to 5 . Closed Mondays.

Judy Mackey

“Patience” Oil on Canvas

“Patience 2” Oil on Canvas

“Patience 3” Oil on Canvas

“Patience 5” Oil on Canvas

www.JudyMackey.com

Judy Mackey

“No Worries” Oil on Canvas

www.JudyMackey.com

Roberta McGowen

visualwestphotography.com

Visual West Photography

“Leader”

visualwestphotography.com

LADY L

Colors Make Me Happy

Daisy Pink 24 x 24 inches Acrylic on Canvas

ladylart.blogspot.com

ellepace.com/lady-l-artist

She began painting at age 2 on small pieces and by age 3 moved up to full size canvas. Lady L is the granddaughter of Texas Artist Laurie Pace.

Mary Jo Zorad contemporary fine art

“You Have the Power” 12 x 12 Acrylic

ZoradArt.com “Sedona” 16 x 20 Acrylic

VL Barry Scharf

Blood Moon by Barry W Scharf

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A Creative Psychology http://barrywscharf.squarespace.com/

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Barry W. Scharf

A CREATIVE PSYCHOLOGY

By Barry W. Scharf Now that we have entered the new year of 2015, I have been contemplating what makes a person creative and how they arrive at an expressive output. I often go through thoughts of how I can better myself and improve my work and a few questions always come to mind. The why and how of what makes me an artist.

To answer this question we must look at the characteristics that make a person want to be creative.

What is it that sets them apart from the crowd? First they must be inquisitive. They are always looking at the world and asking questions about what they see.

What is that out there? Why is it this way? Is there more to this then meets the eye? How can I know more about this?

I believe these types of questions are historically the basis of what great masters have asked in order to form unique answers to what otherwise are images and forms that have already been expressed. They did not follow trends of their time but instead, by asking questions set new ones in motion.

Next they are aware of their reality. They are sensitive to the feelings and emotions they are having.

They are paying attention to sensory input that they receive through sight, smell, taste, touch, hearing and that elusive extra input that comes through intuition. Most importantly they are present in the moment undistracted from their reality with past or future thoughts. Locked in an embrace with the content of experience and the present moment of expression.

They dance the dance of creativity, INPUT…CONTENT…EXPRESSION.

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At the same time what is avoided in a successful creative process is equally important as what is embraced. Most important is to overcome fear. Fear is the most crippling component to the creative process. It causes doubt and self-consciousness that inhibits the free flow of ideas and process.

Another debilitating element is judgment. By this I mean avoid the inner critic that is forever judging every move you make. The “critic” can cause hesitation, leading to questioning the conviction of your expression, which will only lead to producing a watered down and over thought version of what you were truly after.

Now if this sounds difficult and a lot like work…it is!

True creativity is not for dabblers or the faint of heart.

It has been and always will be a place of strong exception, a place where fleeting moments of genius are captured and translated into the expressive act.

Great works of art often demonstrate a glimpse into the mind of the “artistic warrior” that have found the key to bringing together mind, body and spirit into a single moment of expressive fervor to produce something of a great value of consciousness in the world.

Night Moon by Barry W Scharf

Aftermath by Barry W Scharf

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Barry W. Scharf

New Abstraction 82 by Barry W Scharf http://barrywscharf.squarespace.com/

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by Barry W Scharf

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Lisa McKinney

Had I Known

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Lisa-McKinney.com lisamckinneyartprints.com

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Artist Interview with Elizabeth Chapman

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Elizabeth Chapman

At what age did you realize you were an artist?

As long as I can remember I was creating and making stuff. I was always an artist but did not realize it until I was about 45 and working as a High School art teacher. It was there that I realized I was more of an artist than a teacher.

Who or what inspired you to make art in the beginning?

My first painting was an oil painting. I remember standing by my mother’s easel working on my own little canvas. She still has that painting.

What is your background in art?

I consider myself to be self-taught, although I do have a B.S. Art Ed. As a teenager I took watercolor lessons from a professional artist.

What role do you feel an artist has in society?

I like what Georgia O’Keefe said about why she began those large flowers. She felt a need to help the busy New Yorkers slow down and see the beauty in the flowers, so she painted them big. I guess that is how I see artist as sensitive individuals that are pointing to and expressing the beauty of God’s creation. Creating spaces in time for reflection.

Today, who has had the greatest influence on your work?

There are so many artists that have influenced me and that I admire. However, I would have to say that it is a local artist, Emily Frost, that has so encouraged me for so many years. I don’t know that the artist within me would have emerged if it weren’t for the nurturing of the seed that she has done.

Give us an idea of what type of art materials you use and if you have a favorite color palette.

I work as an abstract expressionistic allowing my intuition to direct the decisions that I make concerning any of the elements. The hardest can sometimes be just laying down that first mark. Once done, this will lead to the next idea and so forth. I work with acrylic paints which in the beginning were frustrating to me as my formal training in college was with oils. Acrylics dry much faster than oils and because of this I have taught myself to work fast building layers up to reduce the drying time.

Life often gets in the way of creativity; how many hours do you spend creating or making art each week.

I spend about 30 hours a week actually painting and probably around 15 hours a week photographing, listing, promoting, etc., In the beginning, I disciplined myself as if it was a regular job 8-5 but as life does get in the way I have learned to be much more flexible.

Right Page: Ascend 24” x 30” x 1.5” Canvas

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Gasing Up

Hornet Sunset

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Artist Interview with Elizabeth Chapman

Arioso 30” x 48” x 3/4” Canvas

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Alpa

48” x 48” x 1.5” Canvas

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Artist Interview with Elizabeth Chapman

Verdant 24” x 30” x 1.5” Canvas

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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?

All of those.

How do you overcome these obstacles?

I think it’s important to continue to paint even when you aren’t feeling like it. Many times once you begin then the painting itself will take care of whatever obstacles there were. Much easier said than done. Encouragement from others can go a long ways.

What food, drink or song inspires you or gets your creative juices.

Music is definitely inspirational to me. It can be what helps to get that brush pushing through the canvas. It can also set the mood for that paintings visual expression. Don’t really snack while painting as I”m a messy painter.

Has your art evolved or changed in the past ten years? If so, how?

Definitely has change ALOT! Six years ago when I left my job as a high school art teacher to pursue being an artist, I really had nothing as far as paintings go. I began with what I knew and that was painting realistic florals with transparent watercolors. They were very realistic. A change in mediums forced me to begin working much faster in a more abstract fashion.

Do you have a favorite piece of art?

This is such a difficult question...it’s kinda like your favorite color or food. I feel like my favorites change from day to day, season to season. Much to many favorites!

Do you find the artistic life lonely? How do you counteract the solitude?

I do find the artistic life to be a lonely life. In a way, this is a good thing because it causes you to be introspective. It is a place of listening, pondering, reflecting and creating. It helps to have this type of time for creating and expressing those thoughts visually. On the other hand, enough can be enough. I love getting out and being around people in different settings, and spending time with friends and family.

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Steadfast 30” x 48” x 1.5” Canvas

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Artist Interview with Elizabeth Chapman

What is the predominant color in your closet?

I really can't say...definitely a mixture.

What book are you reading this week?

This week I've taken an interest in reading Revelation, Genesis, Daniel and the Book of Esther in the Bible.

Do you have a favorite television show or movie?

I don't watch much television, but do enjoy cooking shows. The Sound of Music will always be an all time favorite.

What is your favorite food or what do you snack on while you are working?

I'm a messy painter, no snacks while painting.

What colors are the towels in your bathroom?

Well they use to be gold and a rich brown...but they’re quite faded now. Browns.

What is your favorite color?

Changes with the seasons!

What color do you avoid?

Personally, will stay away from orange as I was trying something on in a store one time, looked in the mirror and thought I looked like a pumpkin. I don't have a problem painting with it.

What are you most proud of in your life?

That would be my family. I am very thankful for them.

What has been your most embarrassing moment?

There's probably been many, but those that happen to you when you’re so young seem to stick the best.

The one I'm thinking of now was when I was in the first grade. It was a small class and we each had an easel for painting. One day I was standing at mine and I guess I must have gotten so into it...suddenly I realized their was a puddle on the floor. Fortunately, I had a sensitive teacher that took care of the situation

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Dreamboat 24” x 30” x 1.5” Canvas

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Artist Interview with Elizabeth Chapman

What jobs have you done other than being an artist?

I was a stay at home mom to three children and a High School Art teacher. All other jobs were for short periods of time.

Do you have a passion or hobby other than painting?

My grandmother taught me how to sew when I was in the 6th grade. I loved fabric stores for all the colors and making my own clothes. I still find sewing to be relaxing. I also love cooking and gardening. Love playing with our grand daughter and not a hobby, but enjoy walking.

Who would you love to portray in Mixed Media or in paint?

I would probably answer that us our grand daughter. Not that it would be realistic, but it would show all the joy that there is in those child like qualities that we tend to lose as we settle into the rules of life.

If you were an animal what would you be and why?

I've always loved watching the hippos at the zoo, probably because I love the water. As a kid, I lived in Venezuela where the weather permitted swimming all year long. My family teased me that I was going to turn into a fish. Another animal would be a dog, as we have two that are very well taken care of.

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

I don't know why, but I've always thought the Mediterranean area.

Share something with us that few people know about you.

Well. I can tell when i'm getting into a painting, as i've got this thing about having to kick my shoes off. I guess it's a feeling of not being restrained. I also love to dance while painting, but never do that with an audience.

Name something you love and why.

I love spending time with our grand daughter. It is such a joy and it is my hope that we will have had a positive influence in her life.

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

Kindness.

Right Page: Seraphic 36� x 48� x 1.5� Canvas

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Go Shawk

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Artist Interview with Elizabeth Chapman

Consider 30" x 60" x 1.5" Canvas

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Palette Knife Painters

Paletteknifepainters.blogspot.com

Paletteknifepainters.org

Kimberly Conrad “Pouring Color Into Your Life”

Moving Metals Cerulean B-6 18” x 18”

KimberlyConradFineArt.com

Moving Metals

Moving Metals Cerulean B-5 18 “ x 18�

KimberlyConradFineArt.com

DAILY PAINTERS ABSTRACT GALLERY DailyPaintersAbstract.blogspot.com

Carol A. McIntyre “Floating Winds, “ 28x21, Oil on Canvas

DailyPaintersAbstract.blogspot.com

DAILY PAINTERS ABSTRACT GALLERY

DianeWhitehead.com

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.�

DianeWhitehead.com

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NOT SURE IF WE TURE FOR HERE>

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Getting Intimate with Demian Dressler “It’s the little things that count.”

HAVE A FEA>

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Intimate with Demian Dressler “It’s the little things that count.”

VL: So, congratulations on your selection as a Top Master of Contemporary Art by Art Tour International, and your upcoming exhibition in the Museum of Fine Art in Las Vegas. So, everyone is wanting to know: what is your new “mystery medium”? What can you share with us about how you create your beautifully vibrant abstracts?

Demian: Well, the short answer is abstract macro photography, hybridized with traditional painting using acrylics, watercolors, and whatnot. I apply these painted media on what I call a screen, often film paper or plastic, and then I spend ridiculous amounts of time finding the perfect field to capture a photographic image. This image is then transferred to panel. Many people don’t realize that the photographed field is often less than an inch square when they look at the wall art. On some of the final works I will add further layers of paint, or use chips of diamonds, meteorite dust, rose quartz or other minerals, some gold leaf, or whatever lends itself to the piece.

VL: You were raised on Maui, graduated with an Ivy League doctorate and still are a practicing veterinarian, as well as a full time artist. How has this influenced your creative process?

Demian: Well, I know Maui has been a big influence. I’ve always been attracted to the rawness, the intensity, and the brilliance found in natural things, and my childhood was filled with this, the colors and forms of Hawaii. This art is created with a very organic and natural process, in spite of the lens and paintbrush, and what is brilliant or intense is what ends up in the final pieces. So there is a correspondence there. I grew up without running water or electricity, so when I was not doing art I was surfing, spending time with animals, and exploring the natural world. There is some magical essence, something vital that is found both in good art and in the natural world. This has always been my inspiration. It could also be that I am very restless and I constantly seek, which I suppose assists innovation a bit. As to the veterinarian hat, I have done quite a bit of surgery for many years…here we work with the hands, look closely at things, and go by feel a lot. People think of medicine as science, but it is equally art, it is intuitive, there is a sensitivity that must come with it, an empathy, and the hands are a channel in this capacity, and feeling is central. So I suppose its an amalgam of all of these life experiences.

VL: On your website (www.demianart.net), you have a quote: “Art should bring magic into our daily lives, an escape to a different place, maybe even a different world, somewhere delightful, exciting and alive. This is why I create.” Tell us about this.

Demian: Well, you’ve heard the saying, “It’s the little things that count”? Sometimes it can be a moment in time, when suddenly everything stops and this fantastic and wonderful image separates itself from its surroundings and presents itself to us. It captures us, our attention. And it may take us away, somewhere far off, an escape to something better than the day to day, the grind, the mill. This is what I want to convey or produce for the viewer or collector. This is really why I am an artist- to offer this feeling, this magic, this alive-ness and make it an accessible part of day-to-day living.

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Homecoming

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Intimate with Demian Dressler “It’s the little things that count.”

VL: Obviously your art has deep philosophical undertones. Would you say there is a larger purpose to it?

Demian: Yes, I would say there is. So much of our time is consumed being driven (or forced) doing things that deaden us, and each moment is like currency- “time is money”, right? Moments are the currency of our lives in this way. And they are being spent, right now, and they are finite since we are only given so many in a life. And all of this enforced moment-spending doing things can leave behind a dull heaviness that weighs us down- it dims our vision and outlook. I offer my art as a way of bringing that propulsive feeling of excitement back into life. Remember when we were kids? Or when we fell in love?

There was freedom, there was delight, there was something to look forward to, and it was real. This energy, excitement, this hopeful state of mind, this alive way of being that we can again allow ourselves… the art is directed towards that end.

VL: Well, it’s pretty clear you put a lot of thought into your work. What were your influences?

Demian: There were many. But what is being reflected in my work now is the influence of the early Surrealists, Automatism, and Carl Jung. I’m really endeavoring to bypass the conscious mind to access what is deeper, to truly or authentically act as a conduit, to allow the pieces to presence themselves and get myself out of the way. Every artist knows this experience, and I have some techniques I use to do away with the obstructing part of the mind. I’m at my best when I’m not there (laughs).

VL: Yes, but you have written narratives for your pieces that bring them to life in an entirely different world. Is this writing an intellectual process that differs from your artistic process?

Demian: The words are just another way to access that vital essence…Henri Bergson called it élan vitale, a kind of vital force which is beyond words and also beyond a canvass, paper, sculpture, a sunset, the eye of an animal…all of these point to something, they intimate at something, and they open a road or a channel to the intangible, to the very thing that makes us feel alive, that changes our lives when we allow it, or when we witness it fully and absorb it. The differences in expression, or the form itself, in the end don’t really matter- they are all just gateways.

Right Page: Intermezzo Divinus

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Intimate with Demian Dressler “It’s the little things that count.”

Leviathan

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Kosmogonia

The Chalice of Discreation

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Intimate with Demian Dressler “It’s the little things that count.”

Prismatica

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“Well, you’ve heard the saying, “It’s the little things that count”? Sometimes it can be a moment in time, when suddenly everything stops and this fantastic and wonderful image separates itself from its surroundings and presents itself to us.”

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Intimate with Demian Dressler “It’s the little things that count.”

Tempering

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Sear of Interlude

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Alejandro Castanon

www.vinodipinte.com Vino Dipinte Art Gallery

602 Orient St

San Angelo, TX 76903

alejandrocastanon.com

KRISTINE KAINER

www.kristinekainer.com www.kristinekainer.blogspot.com

Texas Art

www.kristinekainer.com www.kristinekainer.blogspot.com

Artists of Texas

artistsoftexas.org

NO WHERE BUT TEXAS

artistsoftexas.blogspot.com dailypaintersoftexas.blogspot.com

Felicia Marshall

“Dressed Up”

“Alone”

Left page: “Sunshine on Hope”

FeliciaMarshall.blogspot.com

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Index of Features and Advertisers

Alejandro Castanon 170-171 Andy Baird 3, 50-65 Artists of Texas 174-175 Artists Out of Bounds 22-41 Barbara Haviland 94 Barry Scharf 124-129 Bob Coonts 68 Carol Jo Smidt 17 Connie Chadwell 14 Corey Watson 69 Daily Painters 178-179 Daily Painters Abstract Gallery 184-185 Davis & CO 66-67 Demian Dressler 158-169 Diane Whitehead 156-157 Dyan Newton 46 Elaine Vileria 36-41 Elizabeth Chapman 132-149 Eric Bodtker 90 Felicia Marshall 176-177 Filomena Booth 44-45 Joenlle T McCoy 16 John Whitton Bria 20-21 Joyce Pihl 42-43 Judy Mackey 116-117 Kimberly Conrad 152-153

Kristine Kainer 172-173 Lady L 120-121 Laurie Pace 70 -71 Lelija Roy 47 Lisa McKinney 130-131 Logan Bauer 48-49 Mark Yearwood 8 Mary Jo Zorad 122-123 Michal Ashkenasi 18-19 Mirada Fine Art 12-13 Nancy Medina 112-113 Nathalie Kelly 181 Painters Keys Sara Genn 11 Palette Knife Painters 150-151 Phylis Mantik DeQuevedo 15 Ricahrd Levine 9 Roberta McGowen 118-119 Roseanne Snyder 92 Sallie-Anne Swift 72-84 Sanda Manuila 91 Slav Krivoshiev 96-111 Suzy Pal Powell 95 Texas Trails Art Gallery 114-115 Valerie Travers 30-35 Vanessa Katz 24-29 Vicki Rees 93 Victoria Pendragon 4

Nathalie Kelley

“Christmas Candy” 8 x 10

“Blowing Off Steam”

nathaliekelleyart.com

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