VL Visual Language Magazine Vol 2 No 6 Contemporary Fine Art

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VISUAL LANGUAGE

contemporary fine art

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June 2013 Volume 2 No. 6

Gerald Barnes GeraldBarnes.artspan.com

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VISUAL LANGUAGE

Contemporary Fine Art

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June 2013 Vol 2 No 6 @GraphicsOneDesign1998-2013

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Gerald Barnes GeraldBarnes.artspan.com

Like many artists, my career was interrupted by the realities of having to make a living. Now that I am retired, I have finally come back to making art and moving in quite a new direction. My past work consisted mainly of acrylic narrative paintings on artboard and canvas 30”X40” while my current work is in mixed media on 12”X9 or 12”X12”” wood panels. Maybe the two shall eventually meet somewhere along the way.

VL Cover Artist

MIXED MEDIA FIGURATIVE AND ABSTRACT COLLAGE AND PAINTING

LoriLovePenland.com

L O R I L OV E P E N LA N D

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content

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CFAI New Artists Pages 5 Painter’s Keys - Robert Genn Page 14 Colors on My Palette Pages 23 Rita Cirillo and Carol Engles

Artspan Focus Page 25 Painting Light/Shadow Page 35 Hall Groat II Women Artists Out West Page 41 VL Feature “Is the Medium the Message?” Page 67 Barry Scharf

Artspan Studio Visit Page 73 Gerald Barnes Art Review Page 83 by Sarah Hucal “The Equisite Doodle” Artspan Interview Page 89 Alex Mitchell Artspan Studio Visit Page 95 Amy Steinberg VL Studio Visit Page 99 Bryan Holland VL Studio Visit Page 107 Nancy Standlee VL Gallery Visit Page 111 Theater Gallery VL Photography Page 115 Miro Trimay CFAI Art Challenge Page 123 Carol Smith Myer and Lunell Gilley

CFAI Blog Review Page 133 Mixed Media Artists CFAI Artists Spotlight Page 135 Southern Artists Daily Painters Page 142 Sharman Owings CFAI Art Collections under $200 Page 149

VL new artists on cfai.co

John Wilson www.cfai.co/johnwilson

Rhoda Sterling www.cfai.co/rhodasterling

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Ivy Delon www.ivydelon.com

Alan Brain www.alanbrainart.com

Michele Fisher ARTIST.com MicheleFisher.artspan.com

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LAURA REED

CONTEMPORARY AB

laurareed.artspan.com

Journey North

Prism

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Mixed Media Paintings

BSTRACT COLLAGE

Abundance

LauraReed.artspan.com

JONATHAN

jonathancallicutt.artspan.com

jonathancallicu

CALLICUTT

jonathancallicutt.artspan.com

utt.artspan.com

The Five Grace

Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zora

the5graces.com

DebbieLincoln.com

LaurieJustusPace.com

Charisma-a

What makes The Five Graces special/unique?

All members of The Five Graces create bold, vividly-colored artworks with an inspirational flair. Several of the group are excellent teachers and writers. They work energetically toward touring exhibitions that showcased th artworks - shows to the US and to Europe. All five artists are spread out over the US.

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Who are The Five Graces?

Debbie Grayson Lincoln (the steady grace), Laurie Justus Pace (the heartbeat grace), Conni Tรถgel (the wired grace), Diane Baird Whitehead (the business-minded, directly spoken grace) and Mary Jo Zorad (the quietly inspired grace) have as many similarities as they do differences. Their artwork demonstrates a common commitment to a high standard of workmanship.

To speak with any one of the five women reveals a commonality in what inspires them and how they choose to live their lives, with integrity and a commitment to doing their work for a higher cause. Each feels her creative inspiration as a passionate and natural calling.

thefivegraces.blogspot.com for daily updates

ZoradArt.com

DianeWhitehead.com

the5graces.com

VL

VISUAL LANGUAGE

Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Managing Editor Nancy Medina Consulting Editor Diane Whitehead Consulting Editor Debbie Lincoln Feature Contributor Robert Genn Painter’s Keys Artspan Media Manager Sarah Hucal CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II Feature Writer Barry Scharff VL Sponsor ARTSPAN Eric Sparre Advertising Contact: VisualLanguageMagazine@gmail.com Marketing and Development Executive Director Laurie Pace Senior Director Lisa Kreymborg

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LauraReed.artspan.com

DennisSalaty.com All Artwork is Copyrighted by the Individual Artists.

Visual Language Vol 2 No 6

Painter’s Keys with Robert Genn

Robert Genn’s Studio Book

April 19, 2013 Dear Artist, Yesterday, Carolyn H. WarmSun of Montclair, California asked, “Do you ever do telephone consultations with artists? If so, at what price and how are they arranged? I am imagining us both on the phone in front of computers where you can see my website as we talk. I’m looking for straightforward advice. With all these paintings around here, I feel like an orphanage matron--I need to get these kids out in the sun and find them a good home.”

Thanks, Carolyn. I’m sincerely sorry, but I don’t arrange telephone or computer consultations and, when they happen, I don’t charge for them. I’d love to consult with folks this way, but I’d need two weeks tacked onto every day.

Carolyn’s paintings exude the colour and warmth of the American Southwest. Broadly abstract and Zen-like, they are loaded with texture and commonly-found materials. Glass beads, fiber paste, tissue paper, even Halloween spider-webs add to the mystique. You can tell she’s the kind of artist who likes to look at her work-in-progress and see what’s happening--watching the paint going here and there. A seeking, exploratory and curious worker, she’s having a lot of fun. FYI, we’ve put some examples of Carolyn’s work at the top of the current clickback.

Requests for straightforward advice come to my inbox every day. Many are wondering what to do with the buildup of orphans in the studio. Like the art of poetry, where there are more poets than readers of poetry, the art of painting is heading in the same direction. My job, as I see it, is to try to give tail-wagging encouragement and informed comment on our miraculous vocation. My suggestion to reconsider chartered accountancy is a last resort.

It’s not just a North American phenomenon, but people often feel the need for green feedback to justify their actions.

In painting, this concept may be unsustainable. Perhaps the best advice is, “Keep at it and let the joy build your proficiency. Fall in love with your own unique processes. Don’t hide your stuff under a bush. Know in your heart that there is no such thing as an undiscovered genius.”

Best regards, Robert PS: “My goal as an artist is to be seen as relevant, unique, and excellent by artists whose work I respect and admire.

I also hope to help people experience their connectedness to Mother Nature.” (Carolyn H. WarmSun) Esoterica: Artists generally need a lifetime to build acceptance. Painters like me coast on a legacy of not deserting the ship. Periods come and periods go, times are up and times are down, but someone is always in the engine room.

My heart goes out to true-to-themselves painters like Carolyn, and there are millions. Still, things happen to those who keep a steady hand on the tiller. And it’s human nature to keep buying the tickets.

I had a good friend, now deceased, whose path through life was unfocused and lackadaisical. He lacked gumption.

“When my ship comes in,” he said, “I’ll be at the airport.”

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Painter’s Keys - Robert Genn

The downside of isolation Straightforward advice

Randall Cogburn

http://www.kirbysart.blogspot.com/

Roll on, deep and dark blue ocean, roll.

Ten thousand fleets sweep over thee in vain.

Man marks the earth with ruin, but his control stops with the shore.

Lord Byron

Moving Waters, Catching Waves, Under Sail

KirbysArt.blogspot.com 16

Jimmy Longacre

Texas Contemporary Landscape Artist

longacreart.com

Dyan Newton Colors of Life

DyanNewton.com

Visit my website for workshops and class schedules.

Oregon Artist

Melody Cleary MelodyCleary.com

Gerald Barnes

Title: Beware! Size: 12”X9” Mixed media on wood panel.

GeraldBarnes.artspan.com

Abstract, Esoteric, Channeled Art

Pink 6 x 12 Acrylic on Canvas

Dara Grey DaraGreyArt.com

Kimberly Kelly Santini PAINTINGS WITH SOUL paintingadogaday.com ** **cats, horses, bunnies, etc always welcomed.

Colors On My Palette

Rita Cirillo http://www.ritacirillo.com http://www.cfai.co/colors-on-my-palette/rita-cirillo

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

There was never a single defining moment of realization that I wanted to be an artist. As a small child, I loved coloring outside the lines in the coloring books, but I loved many other things as well, with playing outside being the most important thing I did.

After moving to Hawaii in 1974, I started taking painting classes and found that I enjoyed the process and was producing results. But I had other concerns at that time as well: mostly raising 3 children. And then going to college to study engineering and then working as an engineer. So, it was not until 1998 (or 99) when I traveled to Europe for a plein air workshop with Ian Roberts that I honed in on my desire to be an artist. After painting all day long, every day for 10 or 12 days, I realized that I REALLY liked the process of painting and that I COULD do it all day without getting bored. From that point on, until I finally gave up the day job in 2005, I pushed to develop my skills and work up the courage to take the leap into fulltime art Who has been the greatest influence from your past to mentor you to this career?

Strange as it may sound, I would have to say it was my Mother. She wasn’t even an artist and she had actually passed away by the time I did stop working and leaped into art full time. She, as the mother of 9 children in a family low on resources, was the most resourceful person I can think of. She made all of our clothes, often from fabric recycled from used clothes; she kept a large vegetable garden and canned most of it to keep us eating throughout the year; she made drapes, mended socks, embroidered, baked the most delicious bread... the list goes on and on. At the time, I did not appreciate any of that, but in retrospect, I realize that it was her creativity that kept our family afloat and that strongly influenced me to do creative things, as well. Her death in 2004 was revelation that I, too, was mortal. That I would not live forever and if I wanted to make something different happen in my life, I had better do it while I still had time, energy and health.

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Read more at http://www.cfai.co/colors-on-my-palette/rita-cirillo

http://www.cfai.co/carolengles http://www.cfai.co/colors-on-my-palette/carol-engles When did you realize you loved art and wanted to be ‘an artist’?

I enjoyed art as a kid. When others wanted to play board games or cards, I always wanted to draw. Growing up in the Northwest and spending time with my Grandparents and relatives in Montana, I drew ranches complete with corrals, barns and ranch houses. Loving horses, I hoped to have a ranch like those that I envisioned and drew some day! I also drew horses, but not as often as the ranches. I also, enjoyed drawing and painting mountains, volcanoes and anything geological! HA! As I grew older I became interested in design. I was my high school’s yearbook editor and I credit that experience with my interest in attending The University of Oregon’s School of Journalism. My emphasis was in advertising. It was a good fit for me because I enjoyed both writing and advertising design and art. While in college and after, I took a variety of art classes - including watercolor, oil painting, printmaking, weaving, design, drawing and life drawing. Ironically, I never took any classes in pastel which is what I enjoy now.

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

My mom. She encouraged me to enjoy art and especially encouraged me to enjoy and appreciate abstract art.

She had a Picasso print in the kitchen which she just loved! My dad liked Rembrandt, he wasn’t very fond of the Picasso over the breakfast table. My parents took us to Europe to see relatives in Sweden. We spent six weeks in Europe and went to The Louvre and other wonderful galleries. I was 11 years old and the impressions of that trip influence me today.

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

My mom is still my mentor because she always enjoys art, flowers and gardening. They bring her joy. I admire a lot of artists including my fellow artists on the Daily Painters Abstract blog, CFAI, Artspan and other sites because I know how hard they work and how much of themselves they put into their beautiful art - how can you not admire that! Some of my favorite past artists include Van Gogh, Monet, Sisley, Bonnard, Kandinsky, Vuillard, Dufy, Toulouse-Lautrec, Chagall, Degas, Picasso, Cezanne, and Hofmann.

Read more at http://www.cfai.co/colors-on-my-palette/carol-engles

Colors On My Palette

Carol Engles

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artspan

FOCUS ON: Mixed Media

Alice Harrison

www.alicenharrison.com

Florin Ion FirimiĹŁĂŁ

www.florinfirimita.com/home

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Jonelle T McCoy Oklahoma Contemporary Equine Artist

Harbinger Š 2012

McCoysGaitedHorseArtWorks.blogspot.com Jonelle-T-Mccoy.artistwebsites.com

A tree says: My strength is trust. I know nothing about my fathers, I know nothing a my seed to the very end, and I care for nothing else. I trust that God is

artistdoron.com Artist.com

Melissa D

artistdoro

about the thousand children that every year spring out of me. I live out the secret of s in me. I trust that my labor is holy. Out of this trust I live. Hermann Hesse

Doron

on.com

artistdoron.com

Sharon Brooks

Sixteen years ago, I decided to take a creative leap of faith from that of a professional dancer to that of a visual artist‌translating my passions, life adventures and whimsy onto paper, canvas and more recently three dimensional assemblages. My love of experimentation combined with my sense of humor and knowledge of design, shape, color, line, and composition has been a transformational experience. When I began building these structural assemblage creations, I discovered that putting found objects together is intuitive. Each piece takes me on a personal journey of joy and delight. Like a cat, I seem to land on my feet, effortlessly. The outcome of each piece is always an unpredictable surprise and ranges from sophisticated to humorous. I enjoy leaving the interpretations entirely up to the viewer.

My work has been shown in galleries and venues throughout California and is held in private and corporate collections from East to West, Hawaii and France.

www.facebook.com/SharonBrooksArt

Dennis Salaty MIXED MEDIA COLLAGE AND ASSEMBLAGE

dennissalaty.com

Angela Sullivan www.cfai.co/angelasullivan/gallery

blog: angelasacrylics.blogspot.com, website: asullivanart.com

Linda McCoy

lindamccoyart.blogspot.com Commissions Welcome.

Landscapes, Figurative and Still Life

Hall Groat II

Bartlett Pear www.cfai.co/hallgroat

http://www.nyartguide.net/groatii/

Lemon with B

American Fine Artist

Blueberries

Apple Pyramid www.cfai.co/hallgroat

http://www.nyartguide.net/groatii/

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Painting Light and Shadow

by Hall Groat II

Professor and Chairperson, Art and Design Department, Broome Community College Hall Groat II Distant Learning Painting School, DVD Instruction Series http://www.nyartguide.net/dvds/

Notes on Form Light Light enhances the three-dimensional illusion of the subject, adds drama and defines the planes that make the form appear to recede back into space. In classical paintings from the 15th-19th century it’s impressive when the image in the painting seems so life-like that you feel like you can touch it. The “form light” is the area on the subject that is facing towards and illuminated by the light source. In curvilinear forms such as the lemon, (plate 8) the light will slightly gradate around the curvature of the form. As the light moves around the form, it becomes both cooler in temperature and less intense.

The temperature of the front light is affected by the color of the subject and type of light source. When natural daylight is used to illuminate the subject the front light will appear cool and bluish, and when using an incandescent or tungsten light bulb it will look warm. Most light bulbs radiant a yellow-orange cast, however color correct bulbs (full spectrum light) will approximate natural light and appear cooler.

Before proceeding to paint the form light, wipe away with a paper towel the entire transparent undertone back to the initial white of the canvas or ground, in the areas where the light is striking. This will prevent high-key saturated colors, such as yellow or orange from becoming dulled and less intense looking when painting the light. When working with darker colors such as blue or green this is not as critical.

Plate 14

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Plate 8 (Detail) Lemons on Sterling Silver Plate 8 x 10 Oil on Canvas 2009

When suggesting the light striking the forms, apply the paint thickly and with simple, bold, overlapping strokes. Appling horizontal and vertical geometric strokes with a long flat or filbert brush works well. Just avoid applying the paint in little pointillist dot-like dabs, and instead, work towards interweaving the strokes together like the straw of a basket. Take note of how raw and crude the paint looks on the right sides of the three forms (plate 14), and how a few large brushstrokes define the entire light side of the teapot lid. At this point, don’t blend; just layer the paint like if you were applying peanut butter on to a slice of bread. Make it look thick and gooey! Work with large, simple brushstrokes through using the biggest paintbrush you can handle.

With this particular 8x10 in. piece I used a #10 flat bristle brush to block in all of the lights, working with both the length and width of the bristle wedge. Later on in the painting, these initial bold spots may be blended softly around the curvature of the forms into the shadows to appear more natural looking.

Notes on Directional Light Directional light stems from a specific slight source such as a lamp, candle or the sun, illuminating one side of a motif, whereas Ambient or Resonant Light is light that is very general and comes from all directions.

Notes on Form Shadow When working with one directional light source the form shadow will undoubtedly be a darker value compared to the light side of the subject. The degree of darkness is dependent upon the intensity of the light source. A light that is positioned closer to the subject will be more concentrated compared to a light that further away and diffused. Also, if there exists a secondary light source on the opposite side, such as a window, the shadow side will not look as dark, and will appear cooler, especially when using

Lemons on Sterling Silver Plate 8”x10” Oil on canvas 2009

In strict classical painting the shadow of the form is usually painted before the light side. Through years of teaching, I’ve discovered that beginning painters often have a difficult time keeping the colors on the light side looking clean and bright. The students will paint the shadow side of the subject before the light side, and end up muddling the lights somehow. The lights end up looking muted and not alive with intensity. After painting the shadows, one must either clean their paintbrush very well or use a second brush to paint the light side with.

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Painting Light and Shadow with Hall Groat II

I recommend for people just beginning, to paint the light side before the shadow of the form. If the lights are not kept clean and bright, the illusion of light and shadow will be very difficult to achieve, and ultimately the painting may lack a sense of form and appear as if it was painted in the dark. After learning the basics of painting through using strong light and shadow patterns, then one may try depicting the subject within the shadows or without a definitive light source.

This is certainly a challenge; therefore why not just first progress though the stepping-stones.

The shadow of the form should be painted thinner and quieter compared to the thick and bold light side. Work with the same large-sized brush that was used to paint the lights, however be certain that it’s absolutely clean, or use a second one. Before painting the shadow areas study its value through squinting like before, to simplify what you see. In most cases, the value of the background right next to the shadow will be quite similar, and in some cases identical. In plate 15, note how the value of the left side of the teapot spout is only slightly darker compared to the background. Squint so your eyes barely open and the values will appear the same. Now, where the left edge of the teapot meets the background the values are identical, however the curve of the teapot lid is a bit warmer compared to the background. A subtle contrast in the temperature of the tone is the only thing that distinguishes them. During your next painting have some fun through exploring dramatic light and shadow patterns.

Examples of Paintings with Strong Light and Shadow.

Radishes 8x8 in. Oil on panel by Hall Groat II

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Peach and Peachtree Branches 8x8 in. Oil on canvas by Hall Groat II

Apple Pyramid 8x8 in. Oil on panel

by Hall Groat II

Florence Moonan

Florenecemoonan.artspan.com

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WOMEN ARTIST

43rd Nationa “WAOWing the C Exhibition: Ju

Women Artists of the West (WAOW) is a group whose specific objectives and purpose include uniting women artists; promoting appreciation of art created by women; encouraging technical excellence by educating artists and the public through exhibitions and workshops; encouraging professionalism by advising women artists regarding business practices; providing publicity and national awareness for members through advertising and web presence; and developing a spirit of unity among its members.

Our Beginnings as Women Artists of the American West Women Artists of the American West (WAOAW) was founded in 1971 in Norco, California by a small group of women wanting to network as professionals and compete in the world of art. They pooled their efforts and began promoting their careers with shows and advertising. WAOAW soon became known for its high caliber of artists and distinctive western style.

Their debut exhibit was held in Palm Springs, California. They continued to show in locations such as the Cowgirl Hall of Fame in Fort Worth, Texas, in Las Vegas, Nevada, and then on to other areas of the country including New Mexico, Colorado, Wyoming, Mississippi, and Arizona. In these early years, the membership was limited to 35, each of whom played an active role, investing time and money in shows and advertisements to promote their professional growth.

Eventually the decision was made to increase membership in order to support the increasing demands for financing and coordinating the group’s activities.

WAOAW artists were known for their western pieces in various media. However, as many women artists in non-western genres wanted to become a part of the group’s legacy, in 1988 the bylaws were changed to embrace additional genre, subject matter and style. The membership chose to drop “American” from their name and became what is known today as Women Artists of the West.

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TS OF THE WEST

al Exhibition Centennial State” uly 6 – 28, 2013

24 Carrot Cowgirl Dreamin by Glynnis Miller 12 x 16 Pencil on Paper

VL Teri Gortmaker Just Us 12 x 9

WAOW

Kim Shaklee, Master Signature Member Tanay and Tanu 18 x 21 x 18

Mary Ann Cherry, Master Signature Member Pastel 12 x 16

Women Artists of the West as it is Today Women Artists of the West (WAOW) is a unique and respected organization of over 250 professional women artists. WAOW has experienced many changes and much growth in its decades of supporting and promoting art created by women. Within the realm of fine art, there is no restriction on genre or subject matter or location of its members. Member artists work both in their indoor studios and en plein air. They paint and sculpt still life and floral, landscapes and seascapes, figures and portraits, ranch and rural life, old west and contemporary west, wildlife and domestic animals, historical events and Native American subjects. Styles include abstract, impressionism, expressionism, realism, representational and contemporary in all fine art media in two and three dimensions. They do it all!

Left: Kathryn McMahon Catch the Wind, Long Beach 16 x 12 Above: Kathryn McMahon painting a homestead in Colorado

The membership of WAOW now reaches across and throughout the country, with members in more than 30 states. Some members live in remote areas, while others live in suburbia or the fast-paced city, from California to Maine to Texas to Ohio to Washington to Florida.

WAOW has long been interested in helping aspiring artists in the spirit of mentoring, and many of its members share their expertise through workshops and books and, for the members’ proprietary benefit, an online forum for art tips and extended discussions.

The common thread of WAOW artists is the passion for their work and the desire to express the joy and beauty of the world around them. During the organization’s existence, WAOW members have collectively made their mark on the art world. They have done this as a team of professionals, with plans to continue the journey together.

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June T Brown Sculpting

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Sally Fuess Cheeky 12 x 12 oil

WAOW

June T Brown Sculpting Racoon

Sharon Fullingim 12 x 10 x 5 bronze

Ann Goble Sunflower and Your Face Fasinates Me 12 x 12 oil

PLEASE JOIN US!

WAOW 43rd National Exhibition “WAOWing the Centennial State” Exhibition: July 6 – 28, 2013 Cultural Arts Council Fine Art Gallery 423 W. Elkhorn Avenue Estes Park, CO 80517 Phone: 970-586-9203

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lynphariss.com

Lyn Phariss Fine Art Award of Excellence Western Art Collector

Women Artists of the West 41st National Exibition

lynphariss.com

Shirley Hove

Big Thoughts 18” x 22”

Associate Member Women Artists of the West ShirleyHove.com

TINA BOHLMAN OPS . CFAI . AOT . IPAP

High Plains Wind Break - Oil - 12x12

tinabohlman.com tina@tinabohlman.com

mantikstudio.com

Phyllis Mantik deQuevedo mantikstudio.com WAOW- Associate Member

Phyllis Mantik deQuevedo mantikstudio.com WAOW- Associate Member mantikstudio.com

Virginia

VirginiaCarroll.com

“Reflections On The Dark Side”

Carroll Award Winning Colored Pencil Artist, Virginia Carroll Associate Member of Women Artists of the West Signature Member of the Colored Pencil Society of America

“Spring Light”

“Dappled Appaloosa”

VirginiaCarroll.com

Biggers Studio James Biggers

BiggersStudio.com

BiggersStudio.com

B E C KY E NA B N IT S I LV E R

Soaring Mixed Media Collage

AARRIVERGALLERY.com

LORRIE BOYDSTON FINE ART

LorrieBoydston.com

Amazing Grace

JUDITH GOOLSBY Judi Goolsby Narrative Acrylic Paintings

JudithGoolsby.com For You 39 x 24

Suzy Pal Powell

http://www.suzypal.blogspot.com/ http://www.cfai.co/suzypalpowell/ www.suzypal.com

D O N NA G E I ST B U C H

TopangaCanyonGallery.com

geiststudio@earthlink.com

DonnaGeistBuch.com

DAW N WATE R S BAK E R

“Cloud Canyon” 36x60 Oil on Canvas

Marytomasgallery.com

Carol Nelson

Colorado Mixed Media Artist

Mixed Media Workshops carolnelsonfineart.com

Coming to Art of the Carolinas, November, 2013

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Is the Medium the

Living in a world of ever changing themes, the question of what to create and how to create it are relevant to the success of the artwork, its look and eventual public acceptance.

I am of the belief that it is not as much the medium as the message, who is making it and why. Picasso worked in many different mediums because each offered a unique connection to the expression of the idea and look of what he made.

Artists who settle into one medium and one style run a risk of becoming obsolete and complacent. To think you have found your way to unique expression may be true for a short time... but as the world marches on you will need to grow with it to be a part of the ever-changing expression of how society will see your work.

Brush Fire By Barry Scharf

It is important to think about your choice of medium with forethought, integrity, skill and heart. What will best express your idea with clearly? It is the result that counts, it is the result that we invest our energy in. Over the years and in many exhibitions in which I have shown artwork I often have been surprised by how others would interpret my work. It was often misunderstood, unclear and confusing to many.

In order to find out why I needed to analyze and understand my mediums and not just use what was at hand.

I painted in oils, used pencils, inks, watercolors and acrylics. I used oil pastels, chalk pastels, carved wood, marble and alabaster. I have molded paper and built 3d models, worked with clay and porcelain and all this has produced a verity of styles and expressions one no more or less valid then the other. This has led to an understanding of how to represent the overall experience, expression and meaning as an artist.

Because of the ever changing, march of technology I have embraced the digital age. I have learned Adobe Photoshop and other plug-ins in order to produce digital works of art. I have learned to master the printing process to produce fine prints.

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e Message? by Barry Scharf Now as a user of this new digital technology, I am current and up to date with my creativity.

New doors are opening and I am seeing differently.

I am richer for this verity and more capable because of it. I hope that all artists will find the medium that frees them from fear and inhibition and allows them to see and follow their vision clearly to successful expression and understanding as an artist.

Creativity is dependent on confidence of what and how we express of ourselves, mediums we choose must build a comfortable connection between the artist and the expression of the idea.

Additionally, we must realize that nothing is permanent in life all things are a passing parade of development. Artists must embrace the changes that life and time force upon us or fall stagnant in the evolution. We must remain relevant to our times and audience. In this way, we live a life that is serving a greater good and not so self-absorbed. Barry Scharf https://barrywscharf.squarespace.com/ http://scharf62.blogspot.com/ www.linkedin.com/pub/barry-scharf-mfa/4/b29/3a0/

Morning Coffee And Remnant Dreams By Barry Scharf

The Art of Transformation

New Moon Breath – Indigo Winds, Mixed Media: Acrylic, Collage, Resist Dyed Silk

Victoria Pendragon Visit Art in the Park in Berkeley Springs,WV to see the work in person and to meet Victoria (artist/writer/counselor/shaman). Please see the schedule page on the website for dates as well as for information on Come True My Heart collage workshops.

VictoriaPendragon.com

Denise Bossarte Found Worlds Photography

FoundWorlds.com

www.cfai.co/denisebossarte/ http://denise-bossarte.artistwebsites.com/

South Hill Gallery .

Laurie Jus

Racing the Morning 28 x 42 inches Oil on Canvas

Lexington Kentucky

stus Pace

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Studio Visit Gerald Barne

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artspan

GeraldBarnes.artspan.com

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Gerald Barnes

Since early childhood in Ireland, images of extraordinary places have always fascinated me. I wa albums of pictures taken by my father, a world traveler and accomplished amateur photographe small brewing company and often received letters from suppliers overseas. He would bring me s lection. These became my window to the world. By the age of 10, I already knew where I wanted icaca, Katmandu, and Samarkand, just to start! Everything I have seen on my travels has affected world and is reflected in my art.

In the 80’s I was in the middle of my “Japanese period”, and I developed a technique to force acr an airbrush, which allowed me to create large areas of saturated color. I started to incorporate d and was especially interested in creating depth by using the illusion of multiple planes. Subject stylized figures, architectural elements and abstract landscape.

In the 90’s, career demands and the need to fund my travel bug, forced me to put my art on hold stopped collecting images and formulating ideas for the day when “ I would get back to my art”. arrived in 2012 when I retired, and I was able to open my treasure trove of material and ideas st that they just toppled out in torrents from my imagination. I had always wanted to try collage – as I still wanted to combine painting and drawing as needed.

Collage allows me to pull all different types of images together to tell a story. The images can be changed with paint, pencils and a whole variety of different tools. I am especially fascinated by h riod from about the 1890’s to the end of the First World War, when empires toppled like domino changed forever. Although I have traveled extensively I don’t speak any other languages fluently time I think I could say “please” and “thank you” in thirteen. Arabic has to be the most beautifu and has a versatility that allows it to be written in so many dynamic ways. But other scripts like and Chinese to name just a few are also visually stunning. Adding text to an image adds anothe started adding quotations or comments in Irish (Gaelic) but try to incorporate them into a title glish to help the viewer make the connection.

Mise Ēire (I am Ireland)

GeraldBarnes.artspan.com

When I was in High School in the 60’s, Irish history stopped with aftermath, the Civil War, among ourselves. Michael Collins, who (1919-1921). The refusal of some in Ireland to recognize the trea superimposed on a copy of the poem Mise Eire (I am Ireland) wr known by heart by practically every Irish schoolchild. In it, Irela ish stamps and a Union flag dominate. One stamp is overprinted bottom left is Cathleen Ni Houlihan an allegorical image of Irela artist. She was supposed to epitomize the typical Irish cailin (col

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as absorbed by the er. He worked for a stamps for my cold to go—Lake Titd the way I see the

rylic paint through different elements matter was mostly

d. But I never . Finally that day tored up for so long – mixed media really,

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manipulated and history – the peos, and the world y although at one ul script in the world e Sanskrit, Japanese er dynamic. I’ve or reference in En-

h the Easter Rising in 1916. We were not taught about the resulting War of Independence against the British and its ose picture dominates this piece, led the negotiations with the British for a truce to conclude the War of Independence aty he negotiated resulted in the Irish Civil War (1922-1923) in which Collins himself was ultimately killed. His photo is ritten by Patrick Pearse, one of the leaders of the 1916 Rising who was subsequently executed by the British. The poem is and speaks and chastises the Irish people for abandoning her and selling her into slavery. In the upper banner old Britd with “Rialtas Sealadach na hÉireann 1922” - “Provisional Government of Ireland 1922”. The female figure on the and, resting on her harp. The model for this image was Hazel Lavery, an American, married to Sir John Lavery, an Irish lleen, girl) and her image graced all Irish banknotes until the introduction of decimalization in 1971.

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Gerald Barnes

East of Suez I am very fond of this old red Egyptian lottery ticket - the central background of the image - but the size was too small for the dimensions I work in so I duplicated and flipped it and butted the two pieces together. Egypt is synonymous with the Suez Canal (as well as pyramids and pharos of course) which my father transited on his way to Australia in the 1930’s but which I didn’t get to cross until 2001. With the added stamps and franks the whole piece looks like it could have been an official transit document in itself - except for the rectangular frank on the bottom left which is actually a modern-day frank from Cairo airport.

The building of the canal was a enormous feat for its day and took a huge “can do” effort on the part of the French. Slightly tongue in cheek I’ve added on the edge of the photo (of a non Egyptian!) “Is feidir linn” – “Yes we can”!

GeraldBarnes.artspan.com

Entry Restricted.

One of the first ever-coloring books I got as exotic Arab city. Through the arch of the ga water at a well and nearby a camel carava I was immediately taken back to that first and his nephew William were artists and e tion at the Victoria Monument in Calcutta it. I never intend my work to be politically

Despite drawing inspiration from many ar what’s going on below (except perhaps for t to the piece. Free movement is something Sometimes our movement is denied or rest cent face is surrounded with the message “

artspan Payment in Burma Parts I and II. I came across these wonderful murals in a temple in southern India. The murals stretched for quite a long way around an open gallery that in parts were deteriorating due to age and weathering. The two images I have here were not contiguous to each other, but I painted in a background to unite them and repaired the pallet where necessary. I loved the energy and movement of the figures, and I thought to bring the two pieces together as a diptych. To link the pieces I used a bank note in the middle divided between the two.

The original note did not have an Indian figure so I added one. Although the note was issued by the Bank of India it was obviously intended for circulation in Burma which the British administered from India – hence my title for the piece. In Part One I added a miniature Mughal painting in which a man sports vey elaborate whiskers mimicking those of the dashing man in the mural. A female classical Greek statue hovers in the top left and doesn’t seem as out of place as it should. A few Indian stamps in matching tones to the mural fall lazily off the top and onto the adjoining piece. In Part Two the little men seem to be having a great time – could they be playing football? Again I tried to pair up the mustaches of the central figures with that of the rather somber figure in the top right-hand corner. A made-up stamp at the top is over printed with an elaborate Indian frank. More regular stamps escape off the page at the bottom right-hand-corner. In addition to Egyptian stamps I seem to have a lot of Indian ones! On the far right edge an Indian woman counter balances the Greek statue on the opposite image.

s a child had illustrations from around the world. One in particular captivated me. It depicted an entry gate into some ate was a tantalizing view of a city of massive domes and slender minarets.. Outside the gate veiled women collected an rested under the shade of palm trees. When I came across another image of a mosque with it’s domes and minarets coloring book. I anchored the image with an Egyptian stamp (I have a lot of old Egyptian stamps!). Thomas Daniell engravers who traveled throughout India in the 1780’s. They made exquisite engravings, which I first saw at an exhibia. I placed a little bit of one of their images in the bottom right and superimposed the face of a British army officer over y, historically or geographically “correct” irrespective of the origins of the images.

reas the end result of this piece does have a unity to it. The currency notes adhered to the top have little relevance to the Egyptian note) but the colors, textures and images compliment the story being told and help add a “universality” that is not available to all of us – whether it is from county to country, across States or within a career or relationship. tricted. Sometimes we are afraid to make it. Sometimes it’s just better to keep our mouth shut. In the diamond an inno“ Is binn beal ina thost” – “It’s a sweet mouth that’s closed” or as we better know it , “Silence is golden”.

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Gerald Barnes GeraldBarnes.artspan.com

The Voyage.

I served in the British Merchant Navy in the 60’s and despite traveling around the world a couple of times never got to go through the Suez Canal as at the time it had been closed as a result of the Six Days War in 1967.

The Italian note, (with some added imagery) at the top has nothing to do with the canal or taking a voyage yet it evokes what might be a ticket to an exotic destination on a huge liner. It blends in atmosphere with the various emphera on the left and the blood red Irish stamp mimics a Chinese imperial chop. The belching black smoke from the ship wafts over the old letter on the left. At the bottom another Daniell ( see “Entry Restricted”) engraving seems to indicate a mysterious world existing under the water of the canal. A simple black and white image of an Asian man using dramatic hand gestures stares out at the viewer. Let the voyage begin!

Two Shorten a Road.

Any journey is enhanced and short These two well-dressed women look as they start off on their journey to for hundred of years and prior to th on planes and trains, people happil time. The middle card says “Is fad - “It’s a long road that doesn’t have bert bother” – “Two shorten a road sayings. I’ve placed a tongue-in-ch see this sign all over Ireland ahead halt. Usually you’ll find several me els not doing much of anything in f - “Men at work”.

tened with the company of a companion. k like they might have a lot to talk about ogether. Card games have been around he arrival of texting you would often see ily engaged in playing a game to pass the da an bothar nach bionn casadh ann” e a bend”. The top card says “Guirraionn d”, both very common and popular Irish heek comment in the circular frank, You d of road works which brings all traffic to a en standing around leaning on their shovfront of a sign that says ”Fir ag Obair”

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Shore Leave Valletta.

Traditional Japanese architecture has always fascinated me and many times I’ve stood under massive temple roofs and towering pagodas just in awe at the interlocking puzzle of timbers that tower overhead and allowed these beautiful structures to stand through the centuries despite earthquakes, typhoons and man-made disasters. Another fascination for me is the dreamlike woodblock ukiyo-e prints of the “floating world”. I thought such an image would be an ideal contrast to the towering pagoda structure. In the 19th century Britain had hundreds of military bases all over the world – not unlike us today. Perhaps this captain was based in Malta (Valletta) or just had his picture taken there as he passed through to his final destination in India, Singapore or Hong Kong. The frank says “Tada gan iarracht” – “Nothing without effort” and the Russian and medieval cards have nothing to do with anything except I liked them.

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KAY WYNE kwyne.com

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Thinking Inside of Doodle” Arti

Madrid-based mixed media artist Alex Mitc

Inspired by the infamous “Exquisite Corpse” drawing game of the Paris Surrealists in the 1920’s, the “Exquisite Doodle” Artist Project required a group of artists to doodle in succession on a little paper scroll set inside a small box. A talented group of international artists signed up to participate, and I took the task of preparing the materials and documenting each step of the project on a blog. Thus, the doodle-by-mail adventure began.

From the beginning, I wanted this project to utilize everyday materials, so that anyone could make their own scroll-in-a-box by following the instructions I’d written on my blog. The materials used were matchboxes, paper, paper clips and lollipop sticks, while the tools required included a pencil, ruler, scissors, tape and pliers.

I assembled the boxes, painted the covers, started doodling on each of the scrolls, and mailed them out. From my studio in Madrid, Spain, the “Exquisite Doodle” boxes sailed around the world, reaching players in Denmark, England, Australia and the USA. I had already doodled on half of the scrolls, and the participants were instructed to add their own doodles before returning the work to me. I documented every step of the creative journey, from the preparation of boxes and scrolls, to the finished pieces.

A lot of work went into the preparation of the boxes and scrolls for each player, but receiving each unique scroll made it all worthwhile.

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f the Box: “The Exquisite ist Project by Sarah Hucal

chell shares her latest collaborative project.

The first returned “Exquisite Doodle” box I received was from Bob Seal in Australia, who created a jubilant scroll with loving messages (above). Bob’s amazing drawings make his generous spirit bounce off the paper. Kristine Suhr (Denmark) was all too happy to make her scroll into a murder mystery (below). In fact, I hear she is still searching for more clues. The butler is not off the hook yet...

Donna Cusano “Under Irish Sky” Pastel

artspan Paula Joerling’s scroll (Atlanta, Georgia) made me smile and think about how nothing is more comforting than spending time with good friends, especially when there’s cooking and dining involved

When I first laid my eyes on Tom Haney’s scroll (Atlanta, Georgia), I nearly saw him staring back in vibrant colors! He had left his magic touch on every inch of the paper (below).

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When I opened John Frame’s scroll (Wrightwood, California) I was struck by the familiar “old book smell,” As it turns out, John had cut his own paper and inscribed it with intricate drawings and cryptic writing. It gave me the feeling that I was holding some sort of ancient treasure in my hands.

Keith Newstead’s scroll (England) gave an endearing lesson in perseverance through his delightful drawing, while Lisa Kaser (Tigard, Oregon) filled her scroll with little characters that seemed to float across the paper. I happen to know that Mary Lou Zeek chose a rainy day to stay inside and work on her scroll; but regardless of the rain outside, it’s clear to see that she

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Thinking Inside of the Box: “The

The finished scrolls were meant to be viewed inside their little boxes by using two paper clip cranks to turn the paper. I felt a video was the best way to show the scrolls being turned, and thus, it is with a video that my doodle-by-mail adventure came to a close.

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Exquisite Doodle” Artist Project by Sarah Hucal

The Video: The “Exquisite Doodle” Artist Project (http://youtu.be/Su56xE-JkjE) The Blog: Art In Communication (http://artincommunication.blogspot.com) The Players: Alex Mitchell (http://www.alexmitchellportfolio.com) Mary Lou Zeek (http://www.marylouzeekgallery.com) Kristine Suhr, the pop-up queen par excellence (http://www.pop-up.dk) Bob Seal, the wonderful wizard of illustration (http://home.exetel.com.au/bobseal) Lisa Kaser, a delightful teller of pictorial tales (http://www.lisakaser.com) John Frame, the visionary film-maker (http://johnframesculpture.com/the-tale) Paula Joerling, a design and illustration goddess (http://www.paulajoerling.com)

ARTSPAN Artist Spotlight

artspan

Artist Interview A Mixed Media Artist

When did you realize you loved art and wanted to be an artist? When I was very young my parents took me to see a local theater production of The Sound of Music. I remember being immensely impressed by the kids singing and acting on stage. It was magical. And it’s quite possible I’ve wanted to create my own magic ever since. I also remember being in fifth grade and having my fourth grade teacher get me out of class to go draw.

That made me feel very special. I helped her create a huge Wizard of Oz drawing for her classroom.

Who has been your mentor, or greatest influence to date? I think of the artists that influence me as my heroes. Being a self-taught artist, I’ve learned about my heroes through books and movies. I’ve learned about playfulness through Alexander Calder’s wonderful circus, and honesty through Frida Kahlo’s striking self-portraits. I’ve learned about dedication through Niki de Saint Phalle’s incredible tarot garden, and spirit through Remedios Varo’s ethereal paintings. I’ve learned about inventiveness through Georges Méliès’ ingenious films, and authenticity through Charles Chaplin’s artistry. They each had their own vision of why and how to make art, and this has influenced me greatly.

Who is another living artist you admire and why? I admire John Frame who has been working on his film “The Tale Of The Crippled Boy” for several years. His vision, dedication, and artistry are an inspiration to me.

What is your favorite surface to paint on? I end up layering paint and sanding almost every surface I work on. As wood lends itself beautifully to this technique, it is a favorite of mine.

What are your favorite materials to use? I love working with polymer clay, wood, cardboard, paper, felt, and fabrics. The more of these materials I can incorporate in one project, the better.

Do you have a favorite color palette? I am very particular about my colors, and I select a different color palette for each body of work.

What is your favorite color in your closet? Any color in the red, pink, or purple range.

How often do you work on your work? I divide my time between studio, portfolio, and promo work. It’s not enough to make the work. I also have to be organized and promote it. The ideal work week is 25 hours studio time and 15 hours portfolio/promo time. However, if I’m in the middle of a project, I will spend most of my hours in the studio. In the same way, once the project is done, I can spend a whole week just updating my portfolio and doing promo work.

What is the one thing you would like to be remembered for. I’d like to be remembered for being authentic.

For better or for worse, I am committed to making art my way.

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? I love to start projects, so I don’t think I have too much trouble with fear of failure. I think what I struggle with is called fear of success. This is the fear of how our lives will inevitably change when we realize our dreams. In order to avoid facing the reality of having success, I convince myself that my work needs to be perfect. Since it will never be good enough to be perfect, I forever postpone finishing it. I’ve learned that perfectionism leads to procrastination.

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Alex Mitchell

alexmitchellportfolio.com

©2007 Alex Mitchell, FOLLOW THE YELLOW BRICK ROAD, “Dorothy” series Acrylic on wood, mixed media, 34” x 34” x 12” Photography by Oronoz, Madrid

How do you overcome these obstacles? I have to make a long task list in order to finish my projects since I’m always worried I will forget something. Then I focus on completing just one task at a time. The hardest part is to get myself going, so I start with an easy task. As soon as I get that done, I feel so good about it that I start on the next task. At that point I just go into working mode and leave my doubts behind.

What are your inspirations for your work? I’m inspired by the mysteries of life. To name just a few, I’d say the mystery inherent in nature and the universe, the way children draw and play, and concepts about time or destiny.

What is your favorite way to get creative juices flowing? If I need to get unstuck, then going for a swim helps me.

My creativity flows better when I’m relaxed. If I’m trying to decide on a new project, I love to look through my “idea file.” It’s full of notes about project ideas and images of things I like.

Which work of yours is your favorite? My new poem picture book is my favorite work so far. It’s taken me over a year to finish and there have been many challenges along the way. All the pages of the book are reproduced from hand-painted originals. I’ve put more of my heart into this project than any other, and it has been the scariest for me to finish.

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Artist Interview A Mixed Media Artist

ARTSPAN Artist Spotlight

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©2005 Alex Mitchell, WORRY DOLLS BOX, “Misery Loves Company” series Acrylic on wood, mixed media, 16” X 17” x 8” Photography by Oronoz, Madrid

Right: ©2008 Alex Mitchell, ELECTROCAT, “El Happy Mundo” series Acrylic on canvas, mixed media, 57” x 25” x 12” Photography by Oronoz, Madrid

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Alex Mitchell Up Close and Personal What book are you reading this week? The Neverending Story by Michael Ende.

Do you have a favorite televion show? I love watching crime shows.

What is your favorite food? I’m mad about avocados, apples, and pistachios.

What color sheets are on your bed right now? Sheets with a striped motif in pastel colors.

What are you most proud of in your life? I’m most proud of not giving up on my dream to make art.

Who would you love to interview? I’d love to interview Remedios Varo.

Do you have a passion or hobby other than painting/sculpting? I love to swim and I’m nuts about watching movies.

Who would you love to do in mixed media? I’d love to create a mixed media work inside a box in homage to Joseph Cornell.

If you were an animal what would you be and why? I’d be a dolphin because I think they are amazing.

If you were stranded on a desert island and could only take three things, what would they be? I’d want a pencil and a sketchbook. And when I run out of pencil and paper, I’d need an instrument to entertain myself. I’d take my violin so that I could finally devote time to practicing. Then when they rescue me, they’d find me playing the blues on my fiddle.

Share something with us that few people know about you. I can’t keep chocolate, cookies, or

chips in the cupboard because when I open a bag I end up eating the whole thing.

If you could live anywhere in the world, where would you live? My fantasy home would be near a forest that has a river running through it. And then I’d want enough land around the house to make a crazy sculpture garden when I get old.

alexmitchellportfolio.com

ARTSPAN Artist Spotlight

Interview Al artspan Artist Mixed Media Artist

©2012 Alex Mitchell, BLUE MOMENT (detail), “On the Divinity of Time” series Acrylic on polymer clay and mixed media, 10” x 6” x 6” Photography by Oronoz, Madrid

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©2009 Alex Mitchell, VANARP Acrylic and paper on canvas, 23 Photography by Oronoz, Madr

lex Mitchell

PY IN MY MIND, “In My Mind” series 3” x 20” x 3” rid

©2010 Alex Mitchell, BRUTUS, “Me-Monsters” series Acrylic on cardboard and mixed media, 24” x 23” x 20” Photography by Oronoz, Madrid

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Studio Visit with Am

I create emotionally based mixed media art. I seek to find the marriage of colors - to create transition from one to the other, seamlessly. A memory of distant lands, the scent of a new place and the iconography of a culture. The transition from hue to hue and tone to tone, seamlessly, effortlessly moves me continually forward in my work.

I typically use acrylic based mediums and then expand to anything that strikes me. I have no fear of media or medium and love the feel of a paint brush in my hand and stacks of wonderful papers around me. I use my hands, my feet....anything that will give me the texture I am looking for.

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my Steinberg

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Over the years my style has changed a lot and I find myself easily influenced by other artists. I think as any artist I am still finding my way and have resigned myself to being a seeker, experimenter, alchemist of art....for today.

Recently I’ve been exploring digital art creation on my iPad using apps such as Art Rage, Paper 53, NoteLedge, Phonto, Procreate and Noteshelf. While I loose the tactile quality I love about traditional mixed media work, being able to have all of these tools wherever I am allows me to produce more work and flush out ideas quickly.

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Studio Visit with Amy Steinberg

www.etsy.com/shop/amysteinberg

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www.etsy.com/shop/amysteinberg

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Studio Visit with Bry

One of the things that fascinates me most is the idea of exploring relationships through contrasts. Contrasts between man and nature, between line and form, light and dark, formed and unformed, flatness and a sense of depth.

On the two dimensional surface of a painting, there is no real depth of course, merely the illusion of it, created by some skillful use of lights and darks. Contrasted with this illusion is the use of elements that call attention to the reality of the flat surface, such as line work, paint drips, and other 2D elements such as text, dots, decorative scroll work, etc. I very much enjoy the tension created between these two opposing ideas. I go about creating the sense of illusion or depth in a painting, then go about trying to flatten it, to call the illusion into question, to call attention to the fact that its a painting.

When beginning new painting, I either start with little more than a surface that has some collage material built up on it or with a photo I’ve taken. Its pretty rare that I have any kind of finished painting in mind when I start.

Now and then, this way of working can be problematic, with misdirections, wrong turns, and bad ideas. However, new ideas can come both from these mis-steps and in the process of allowing the painting to have a life of its own, so to speak, and help shape the direction its meant to go. Most of these ideas would have never happened by my attempt at planning everything out at the onset. I also build up paintings in layers, usually with oil paints. Because of the drying time, its simply a practical matter to work on multiple paintings at one time, typically I’m working on 10+ paintings in various states at any given time. Working on multiple paintings is also helpful, as the paintings sort of talk to each other, and at times ideas flow back and forth between paintings. Something that I’m experimenting on in a new painting might be the solution for a painting I’ve had on my wall for a month or more.

For me, there is something magical, even alchemical about the process of painting, about taking a base, raw material; paint, and transforming it into something else, something that has beauty, something that can make a statement or evoke emotions or feelings in a person who sees it. Often when time I paint, and the form starts to build and take shape, and then an eye appears and stares back at me, its really a remarkable sensation, as though I’m bringing something to life.

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www.bryanhollandarts.com

yan Holland

www.bryanhollandarts.com

it was always the intent, oil + mixed media on cradled panel, 18 x 18 inches

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Studio Visit with Bryan Holla Top Right: after the effort, oil + mixed media on cradled panel, 24 x 36 inches Bottom Right: dreamspan, oil + mixed media on cradled panel, 36 x 24 inches

the disappearing act, oil + mixed media on cradled panel, 24 x 36 inches

running against, oil + mixed media on cradled panel, 24 x 36 inches

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www.bryanhollandarts.com

and

Bryan has worked professionally as an artist, a graphic artist, and a college professor. His work has been in numerous exhibitions, from solo to regional and national juried and invitational exhibitions.

His work has been published in several journals and is part of many collections.

Bryan’s most recent work is a mix of painting, collage, found art, image transfer techniques, and a variety of other experimentation. His work is influenced by graphic design, vintage art, painting, photography, mythology and a little bit of science and philosophy.

SUNNY KA

www.cfai.co/sunnykaymarler

Y MARLER

www.cfai.co/sunnykaymarler

Larisa Palinsky Lisa doing

LISA McKINNEY DPAG

www.cfai.co/lisamckinney

Lisa-McKinney.com Lisa-McKinney.artistwebsites.com

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Studio Visit with Texas

Artist Nancy Standlee

Nancy Johnson Standlee, a native Texan from Arlington, loves working in a variety of mediums and taking art workshops and travel. She has lived in California and Virginia and retired in 2000 from the Keller ISD.

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Studio Visit with Texas A

Since her retirement she has taken art workshops in Europe, Mexico and the United States in watercolor, acrylic, oil, plein air and collage. Her personal work has evolved to acrylic semi-abstract figurative painting and mixed media paintings with torn paper collage. Nancy uses found papers, magazine pages and hand painted and stamped papers in the collage paintings. She has recently added landscape pieces while painting plein air in New Mexico and California. In January 2012 she traveled to California to take her first oil workshop. Her focus is on bright colors and impressionist techniques in her paintings seen on her blog and website.

She is an internationally collected artist and has recently had 3 of her works published in Painting with Mixed Media, Guhin and Greenman, @2012. Nancy’s paintings can be viewed and purchased at her online gallery: Daily Paintworks, http://dailypaintworks.com

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Artist Nancy Standlee

She maintains a website and an active art blog and contributes to several other blogs. Checks can be ordered with some of her images from Check Advantage http://new.checkadvantage. com/nancy-standlee-checks. During the past years she has begun keeping personal and travel journals and enjoys sharing her love of the process with art journal workshops and collage workshops. She will conduct two workshops this summer at the Dutch Art Gallery in Dallas in art journaling and in collage. Information is on her website. Nancy paints with a group of 8 artists who paint collaboratively, Canvas by Canvas.

Inspiration comes from a library of art books, viewing other artists’ work, painting with friends, art workshops, museums, travel, photos – all that she sees and experiences is a potential for a painting or a journal entry.

Website: http://NancyStandlee.com Blog: http://NancyStandlee.blogspot.com Website: http://Canvasbycanvas.com

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Gallery Visit - Theate

Photography by Fred Brown

er Gallery Two years ago the Sutter Performing Arts Association, which has spent 5 years working to restore a vintage 1950’s movie theater in Yuba City, CA, considered opening an art gallery in one of our retail storefronts attached to the theater building to have a visible presence in our downtown shopping area. A few meetings later and after gathering some interested volunteers, the concept for The Theater Gallery was created. Ultimately two artists, a local marketing consultant, the co-chair of SPAA and a past director from the Yuba Sutter Regional Arts Council with two of her volunteers came together and worked out the details. In January of 2012 the Gallery was finished, albeit somewhat rustic, and showed the paintings of a local young man. We are now preparing for our 17th exhibit, have a good volunteer base to keep the gallery open and our 2013 calendar is full. Things are going very well!

The mission statement for SPAA states in part, “to promote performing, visual and cinematic art” and our Gallery does just that. We showcase the works of our local artists (originally or currently from the Yuba Sutter community) and if you can “see the Sutter Buttes from where you live” we consider you to be from our community! Each month is a new exhibit with a combination of wall and pedestal art. We host a reception for our artists each first Thursday of any given month from 430-7pm with food and wine and most times live music for our attendees. Our sales have been great for this first year and we continue to grow our reception crowds receiving many repeat attendees. All our volunteers are very enthusiastic about our little gallery and look forward to continuing exhibiting some of Yuba- Sutter’s fine artists.

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Gallery Visit - Theater Gall

lery

Yuba City’s Theater Gallery hosted an artist reception in April for Minerva Gama and Dana Barrow, complete with, music, art, and wine. Stop by to see the current exhibit at 752 Plumas Street, Yuba City, CA.

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Photographer Spotlig

As an artistic feeling man I was always fascinated by all ways of capturing reality and reflection properties. I proceeded with various artistic techniques and styles gradually at the Secondary school of applied arts in Kremnica, Slovakia. At the end of this exercise, I found that my photography is the closest to my way of expression. I have dedicated to it fully since 1999 when I bought my “first real camera�, a Nikon EM. Photography is my life and I say, the camera is my brush, through which I capture the magic and atmosphere of the object.

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ght - Miro Trimay

http://www.bluecanvas.com/mirotrimay

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Photographer Spotlig

“the camera is my brush, through which I capture the magic and atmosphere of the object.”

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http://www.bluecanvas.com/mirotrimay

Daily Painters Abstract Gallery Carol Engles

http://carolengles.artspan.com

Carol Nelson

http://carolnelsonfineart.com

http://dailypaintersabstract.blogspot.com

Artspan? https://www.artspan.com/visual_language#.USzscuvwJvI

https://www.artspan.com/visual_language#.USzscuvwJvI

conni togel

www.charisma-art.com

sheep incognito

www.charisma-art.com

CFAI.co Art Challenge “F

ART CHALLENGE

Best of Show - C

Best of Show Lilacs and Lemons Carol Smith Myer www.cfai.co/carolmyer 123

http://www.cfai.co/art-challenge-april-2013-flower-power/

Flower Power� April 2013

Carol Smith Myer

ART CHALLENGE

http://www.cfai.co/carolmyer

First Place Hollyhocks in Flight Lunell Gilley

www.cfai.co/lunellgilley

ART CHALLENGE

Second Place French Tulips Nancy Medina www.nancymedina.com

http://www.cfai.co/art-challenge-april-2013-flower-power/

CFAI.co May Art Challenge - “Everyday People” - $100 Cash Prize!

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Open to all 2D visual artists!

Enter now www.cfai.co/art-challenge Kit Hevron Mahoney

http://www.cfai.co/art-challenge-april-2013-flower-power/

www.suzypal.com

Submit your portfolio to join

Contemporary Fine Art International

www.cfai.co/register

ART CHALLENGE

Third Place Woven Sunflowers Suzy Powell

Diane Wh Lost Maples 16 x 20 Oil

Sheep Incognito

Baaandits

Conni Togel Charisma-Art.com

DianeWhi

hitehead

itehead.com

Mary Jo ZoradArt.com

ZoradA

o Zorad

ZoradArt.com

Art.com

Debbie Gray

NoworNever-Debbie.blogspot.com DebbieLincoln.com

yson Lincoln

NoworNever-Debbie.blogspot.com DebbieLincoln.com

Blog Review Carol Nelson

www.cfai.co/carolnelson

MixedMediaArtistsInternational.blogspot.com Mixed Media Artists

Linda Bell www.lindabell.ca

134

Southern Artist Spotlight

Alabama

Arkansas

Elizabeth Blaylock www.elizabethblaylock.blogspot.com

Debra Sisson www.debrasisson.blogspot.com

Louisiana

Lou Jordan www.loujordanfineart.com

Florida

135

Jani Lori www.janilori.com

Georgia

Jill Saur www.jillsaur.com

Oklahoma

North Carolina

Carol Schiff www.carolschiffstudio.blogspot.com

Texas

Filomena De Andrade Booth www.filomenabooth.com

Jennifer Sexton www.jennifersexton.artspan.com

Virginia

Norma Wilson www.normawilsonfineart.com

Southern Artist Spotlight

Jonelle T. McCoy www.mccoysgaitedhorseartworks.blogspot.com/

Mississippi

Kimberly Conrad

Contemporary Artist

http://kimberlyconradfineart.com/

Pou

uring Color into Your Life

http://kimberlyconraddailypaintings.blogspot.com/

VL

Painting with

OilPaint

Step by Step

hrgro

h Hall Groat II

tingDVD.com

p Demonstrations

oat1@stny.rr.com

OilPaintingDVD.com

CFAI.co

Summer Juried Show “Abstraction”

Nelson

Hein

Eckels

Conrad

$500 in total cash prizes Open to 2D visual artists worldwide www.cfai.co/juried-shows

DAILY PAINTERS Daily Painters.comDaily

Sharman Owings http://owingsbrownstudio.com/ http://sharmanowingspaintings.blogspot.com

http://www.dailypainters.com/artists/artist_gallery/653/Sharman-Owings

DailyPainters.com

THE COLORS OF TEXAS

DutchArtGallery.net

THE ARTISTS OF TEXAS

ArtistsofTexas.org

Coronado Flower Garden Cottage 16X12

Nancy Medina

Follow the Light Hydrangeas 16 x 20

NancyMedina.com

WENMOH

Artists Retreat a

Art Workshop S

Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marble Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottle for over eight generations and is today an active cattle ranch.

LIZ HILL

Drawing and painting the figure in mixed media May 9-11 $350

TOM LYNCH

Watercolor/ Studio May 20-23 $575

Also soon to schedule will be the great teaching team of KAREN VERNON and KEN MUENZENMAYER. For those of you looking for a great holiday gift idea--other than a class at the WENMOHS RANCH, En Plein air Pro is offering a 15% off until the end of 2012 on all of their artist easel packages.

http://www.wenmohsranch.com/Art%20Classes.htm

BO

O O $3

HS RANCH

at the Bunkhouse

Schedule for 2013

e Falls. Our aim is to make you happy and see to it that you have your best learning experience ever. e of wine. Life is truly good at Wenmohs Ranch. The Texas Ranch has been in the Wenmoh family

OB ROHM

Oils, Pastels/ Plein Air October 25-27 360

DON SAHLI

Oils/ Studio/ Plein air 2 days of each November 4-7 $595

See you at the Bunkhouse!

Dena Wenmoh

http://www.wenmohsranch.com/Art%20Classes.htm

146

CFAI.co Collectors http://www.cfai.co/gallery/art-under-200/

Maria Kitan

http://www.cfai.co

Linda McCoy

http://www.cfai.co/lindamccoy

Sally Fraser

http://www.cfai.co/sallyfraser 149

Carol Schiff

http://www.cfai.co/carolschiff

Art under $200 http://www.cfai.co/gallery/art-under-200/

no

o/mariakitano

Kimberly Conrad

http://www.cfai.co/kimberlyconrad

Angela Sullivan

http://www.cfai.co/angelasullivan

CFAI.co Collectors http://www.cfai.co/gallery/art-under-200/

Bebe Ruble

Sunny Williams

http://www.cfai.co/sunnywilliams

151

Patty Ann Sykes

http://www.cfai.co/pattyannsykes

http://www.cfai.co/beberuble

Art under $200 http://www.cfai.co/gallery/art-under-200/ http://www.cfai.co/gallery/art-under-200/

Lisa McKinney

http://www.cfai.co/lisamckinney

Rhoda Sterling

http://www.cfai.co/rhodasterling

Dutch Art Gallery

Kay Wyne

DutchArtGallery.net