Visual Language Magazine Vol 3 No 2 February 2014

VL

VISUAL LANGUAGE contemporary fine art

features VL

Glenn Moreton Kimberly Santini Kathy O’Leary Dyan Newton Hall Groat, Sr

February 2014 Volume 3 No. 2

Jonelle T. McCoy jonelle-t-mccoy.artistwebsites.com

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VL

VISUAL LANGUAGE Contemporary Fine Art

VisualLanguageMagazine.com Subscribe Free Today. http://visuallanguagemagazine.com/subscribe.html

January 2014 Vol 3 No 1 ŠGraphicsOneDesign1998-2014 2 | VL Magazine - VisualLanguageMagazine.com

VL Cover Artist

Jonelle T. McCoy Contemporary To Realsim, Specializing in the Equine Jonelle McCoy, the artist and creator of the beautiful paintings on McCoy’s Gaited Horse Artworks, grew up in Upstate New York where her innate talent to create was evidenced at an early age. She states that her love of animals has always existed, and that they are the main focus of her drawings and paintings. As a child, she even made her own patterns for stuffed animals she sewed. It was her Hungarian great grandfather from whom she inherited her artistic inclination. In her words, ‘ I thank my great granddaddy for passing on the artistic genes to me; he is my guardian angel. His plain gray easel, spotted with his past smears, dots of paint, and little holes from pinning his reference materials to it is what I use; it makes me feel close to him.

I still have some of his brushes, well-used, worn-out nubs that they are. One of my prized possessions is his pencil self- portrait. His favorite story told over and over when we visited him was about Van Gogh.’

mccoysgaitedhorseartworks.com

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Connie Chadwell

“Cara’s Teapot” oil pastel, 12 x 9”

conniechadwell.com email: conniechadwell@hotmail.com

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content Cover Artist Jonelle T McCoy

VL

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Jonelle T. McCoy Oklahoma Equine Artist

Painter’s Keys - Robert Genn 11 VL Artist Features - 26 Annie O’Brien Gonzales, Rod Seeley, Kathy O’Leary, and Rick Nilson

CFAI Colors on My Palette 38 Barbara Mason

Read the up close and personal interviews from CFAI.co Find out more about Barbara, her inspirations and how she approaches their work.

ARTSPAN New Works - 44

VL Gallery Visit, Artist Rae Andrews 46 Rae Andrews is an Australian ex-patriot who moved to Austin, Texas after living on Maui for twelve years. When asked what she likes to paint, she smiles , answering ,”that’s easy, everything. I paint anything from landscapes to florals, portraits, seascapes and even abstracts, although when painting the latter, I always try to have some recognizable areas to identify, unlike a lot of my very talented peers”.

VL Studio Visit Glenn Moreton 62 Painting and drawing have always been an essential part of my life. My aunt remembers me as a toddler propped up on a chair so that I could reach the blackboard that my grandmother had on her kitchen wall, spending hours drawing with colored chalks. Even during later times of my life when other priorities had taken over and I was not following my creative urges, art was still an essential—albeit suppressed—part of my life.

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Hall Groat II 78 Nature Teaches Composition Best World travel offers a unique opportunity to witness breathtaking sights.

Understanding what you see and why this vision may stay with you for a lifetime is important to an artist. In reviewing my travels alone, and later with my wife, many incredible scenes were witnessed. Everyone is exposed to the beauty around them and many take it for granted.

VL Studio Visit Kimberly Santini 82 I’ve always been an artist, even if I’ve not actively labeled myself one. As a child, I doodled animals in the margins of spelling tests and daydreamed of painting murals. My parents indulged me with Ebony pencils and gum erasers, and I covered the backside of reams of paper from my father’s office with drawings. I checked out every book on art in our small town library, and was happiest when creating. I would say that’s still a solid truth. Art infuses every bit of my life.

Artspan Spotlight Interview with Kathy O’Leary 104 When did you realize you loved art and wanted to be an artist?

In 1989, having rediscovered I still had my drawing skills (developed from early college experience) I was drawn to painting and drawing again as a release from stresses of my job. As my skills grew rapidly I decided in 1990 that I wanted to leave my job and work closer to the field of art.

VL Studio Dyan Newton 118 Dyan discovered her passion for art over 30 years ago, when a neighbor introduced her to tole painting. She said she would never forget how nervous she was to take that first brush stroke.

While in class, she observed students from across the room oil painting on canvas. This led to classes in pastels, watercolor and acrylics. Several years later, she won a first place award at the local fair and said the excitement she felt was indescribable. This would be the start of her career.

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content

VL

CFAI Fall Juried Show “Colors of Autumn” 126 Best of Show Jason Tako “Autumn Maple” First Place Brooke Crosthwaite “San Diego” Second Place Freya Kazemi “Hapy Place” Third Place Annie O’Brien Gonzales “Las Golondrinas”

VL Photographer Gregory Gibson 140 As an ex-painter, Gregory was always compelled by the photographic image. They played a vital role in his early mixed-media paintings, drawings and prints. Presently, Gregory concentrates solely on the photograph as his main method of visual expression. They have become, in effect, his paintings.

CFAI Art Challenge December 150 Best of Show Kristine Byars “Who Wouldn’t Go” First Place Suzy Pal Powell “The Piano Player” Second Place Carol Schiff “Winter Glory” Third Place Nancy Medina “Cherry Blossom Percher”

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

Sign up today.

Lesley Humphrey “I believe that we can all learn how to paint, but it is in the silent, authentic, beautiful recesses of our hearts and souls where a true masterpiece is born. True artistic skill, the courage to interpret the images of that place and bring them into the world for you to experience is my goal.” http://lesleyhumphrey.net

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

VisualLanguageMagazine@gmail.com

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Carol Jo Smidt

www.caroljosmidt.com

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

VL

VISUAL LANGUAGE MAGAZINE Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Consulting Editor Nancy Medina Consulting Editor Diane Whitehead Consulting Editor Debbie Lincoln Feature Contributor Robert Genn Painter’s Keys CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II Feature Writer Barry Scharf Feature Writer David Darrow VL Sponsor ARTSPAN Eric Sparre Advertising Contact: VisualLanguageMagazine@gmail.com Marketing and Development Executive Director Business/Management Stacey Hendren All Artwork is Copyrighted by the Individual Artists.

Visual Language Vol 3 No 2

http://www.kwronski.com 10 | VL Magazine - VisualLanguageMagazine.com

http://glennmoreton.artspan.com/

Rae Andrews https://www.facebook.com/pages/Stinger-Studio/158466744192427

Robert Genn’s Studio Book

January 3, 2014 Dear Laurie, From my bedroom window a vast tidal estuary spreads in three directions. In wintertime, when tides cooperate, these flats are a festival of seabirds. A dozen species of ducks overwinter here, as do Western sandpipers, Ruddy turnstones and many others. Hundreds of Dunlins fly together in one-minded units, moving like undulating amoebas, flashing white then black, like performing whales of the air. Through the binocs: Whimbrels, Curlews and Willets. Every evening 10,000 Glaucous-winged gulls abdicate a distant dump, lazily cross the sky above our home and head into the USA to roost--Americans overnight--effortlessly passing through Customs and Immigration, only to return in the morning for Canada’s pleasant welfare.

These birds remind me of specificity painters like Fen Lansdowne, Glen Loates, Raymond Ching--and all the other greats who came before--Audubon, Fuertes, Roger Tory Peterson, etc. Looking back, had I been good enough, I might very well have gone along with them.

Painter’s Keys - Robert Genn

Painter’s Keys with Robert Genn

Below the window, flagstones leading to the studio have tiny cracks where winter’s mosses grow--miniature, moist forests marching along their tiny canyons of opportunity. Out this window, everything suddenly seems luscious and intriguing.

If you’re going for a walk today you should at least take a camera. Not just for the smiling shot of your bride, the children playing on the swings or the elderly couple leaning on each other along the trail. Take a look for the minutiae of ferns and winter plants, snowberries and, yes, spring budlets. I can see them from here.

Art is a path on which we honour our world. Art may not be the only path, but it is a good path, even though at times a difficult one. As bearers of this honour, we artists do not need to simply render our world as we see it but as we might ourselves redesign it. As artists, one of our privileges is to invent. “We are created creative and can invent new scenarios as frequently as they are needed.” (Maya Angelou) On our path, design is everywhere and invites the soul.

From my window, art is a worthwhile cause. Whether we choose to delineate the rare birds that come to our shore, to broadly honour the spirit of the sunset, the deep forest beyond or the tiny foreground mosses, this is our opportunity to connect. In a world that appears now to have more connectivity than ever, and yet also less, this is what art looks like from my window.

Best regards, Robert PS: “This is what I think art is and what I demand of it: that it pull everyone in, that it show one person another’s most intimate thoughts and feelings, that it throw open the window of the soul.” (Felix Mendelssohn) It appears that others are opening their souls here.

Esoterica: As well as gaining proficiency, our job as artists is to open our eyes and our hearts to the world.

“When a workman knows the use of his tools,” said George Eliot, “he can make a door as well as a window.”

My advice for those of you not behind glass: Take in the day. “ All the windows of my heart I open to the day.”

(John Greenleaf Whittier) VisualLanguageMagazine.com - VL Magazine | 11

artists of texas

artistsoftexas.org 12 | VL Magazine - VisualLanguageMagazine.com

NO WHERE BUT TEXAS

artistsoftexas.blogspot.com dailypaintersoftexas.blogspot.com

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McCoy’s Gaited Horse Artworks Your equine art connection!

Jonelle Mc Coy “Love Makes the World go Round” jonelle-t-mccoy.artistwebsites.com 14 | VL Magazine - VisualLanguageMagazine.com

BarbsGardenArt.com

Barbara Haviland

BarbaraHavilandFineArt.com BarbsGarden.blogspot.com VisualLanguageMagazine.com - VL Magazine | 15

BITTER Gabriele Bitter

Lady in Waiting

Fairy Tale

gabrielebitter.com

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texture

vibrant

direct

gabrielebitter.com Timeless gabrielebitter.com VisualLanguageMagazine.com - VL Magazine | 17

www.lelija.net lelija@lelija.net available from

Art on a Whim Gallery 100 N Main Street Breckenridge, CO

AND 227 Bridge Street Vail, CO artonawhim.com (970) 547-8399

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

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Aspen S P A C E S

by Lelija Roy

Linda McCoy www.lindamccoyart.blogspot.com Linda McCoy Studio/Gallery Fine Art Instruction 209 S West Street, Mason, Ohio VisualLanguageMagazine.com - VL Magazine | 19

Mark Yearwood

“Dream of Distant Lands” 40’’x40’’ Mixed Media/Canvas The Howell Gallery 6432 N. Western Avenue Oklahoma City, OK 73116 405-840-4437 www.howellgallery.com

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MarkYearwood.com

Mission Shadows II

Dyan Newton dyannewton.com

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Mirada Fine Art

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

miradafineart.com 22 | VL Magazine - VisualLanguageMagazine.com

5490 Parmalee Gulch Rd. Indian Hills, CO 80454 (only minutes from Denver) www.miradafineart.com 303-697-9006 Featured Artiss: Andrew Baird, Pablo Milan, Lyndmila Agrich, Jeanne Bessette, Svetlana Shalygina, Laurie Justus Pace Bruce Marion, Time Howe, Wynn| 23 VisualLanguageMagazine.com - VLAllen Magazine

miradafineart.com

STEPHANIE PAIGE La Jolla . SantaFe . San Diego . Denver . Scottsdale . Napa Valley . Walnut Creek . Malibu

Fire Within 48 x 48� Mixed Media made with Textured Marble Dust Plaster

StephaniePaigeStudio.com Solo Show Embracing Mother Earth February 6th 2014

Calvin Charles Gallery 4201 North Marshall Way Scottsdale, AZ, 85251 RSVP 480.421.1818

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REES VL Rees vlrees.com Wrightsville Twilight, 2013, 24 x 24

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VL Annie O’Brien Gonzales annieobriengonzales.com anniego@mac.com

Voyeuristic Annie O’Brien-Gonzales’ vibrant still-life, landscape and abstract paintings have graced the walls of galleries and shows across the country and many have made their way into private collections.

This winter O’Brien-Gonzales received yet another honor with her museum debut at The Art Museum of Eastern Idaho. Recently, she has focused her painting on still life, a fascination she traces to a Matisse poster on her dorm wall in college. As she shares, “there’s something about still life painting that grabs me. It’s slightly voyeuristic—but yet private—like peeking into someone’s life.” She has found a way to bring her love of color and pattern to her still-life work and recently began offering workshops on Bold Florals Still Life and has also started a blog-Common Objects: Modern Still Life Paintings. [http://commonobjectsstilllifepaintings.blogspot.com/] O’Brien-Gonzales also teaches painting at the Georgia O’Keeffe Museum, Ghost Ranch, Abiquiu, NM and in her studio on Upper Canyon Road in Santa Fe,NM. For more information: http://www. annieobriengonzales.com.

For Sentimental Reasons

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It Had to be You

A Kiss to Build a Dream On

At Last

Tulip Dance

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VL Rod Seeley

RodSeeleyArt.com

Vibrant Digital Creativity Rod Seeley is a self taught digital artist that is always pushing his creative boundaries through his unique “Stylized Digital Fractal Art” creations. My passion is utilizing creative shapes and vibrant colors combined with dozens of special techniques to create truly unique artwork. Many of my pieces are enhanced using a customized digital paint (oil) technique and customized filters. My artwork is designed to be done on high gloss metal in a metal shadow frame which adds an additional visual dimension to the artwork.

In 2012 Mr. Seeley started entering juried international exhibitions and has won awards for his work. His artwork has also been included in the Museum of Computer Art and The International Art Guide – “Abstract Art Showcase”. His artwork also appears in Volume VII – “International Contemporary Masters” a Juried art publication.

His artwork also been exhibited at ArtExpo New York 2013, Spectrum New York 2013 and Spectrum Miami 2013.

Each small image is a Fractal Creation and is part of the final piece of larger art next to it.

This is Stylized Digital Fractal Art.

Liquid Look

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Insert for Liquid Look

Insert for Believe

Believe

Insert for Prospective Vision

Prospective Vision

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VL Kathy O’Leary

http://www.kathyoleary.com/

The Life of a Painter Twenty-two years after making a mid-life career change from the natural food business, to the life of a painter, the landscape has continued to capture my interest, and fuel my passion for expressing the beauty I find there.

Illustration skills learned early in my college years and study with several well-known living artists has helped me develop my abilities as a painter. Although an admirer of California’s early landscape painters I consider myself a contemporary 21st century painter. I work both on location (en plein air), and create larger pieces in my studio using field sketches and my photography.

A lifelong California resident, the beauty of my state continues to be a source of inspiration for my work. Although it was my north coast region that fueled my desire to paint the landscape in the first place, I travel to other regions yearly in search of those beautiful moments I love to paint. Twenty-two years after making a mid-life career change from the natural food business, to the life of a painter, the landscape has continued to capture my interest, and fuel my passion for expressing the beauty I find there.

“Morning Sun and Ocean Mists” 18 x 24

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“October Oaks” 24 x 30

“Shades of Autumn” 9 x 12

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VL Rick Nilson

http://obxfineart.blogspot.com/

Just Around the Canvas Inspiration likes to find me working in my studio.

I started painting in 2007. Since I have painted and posted over 1300 paintings, some took more courage to show than others. I have been all over the place with these paintings, and I feel like I am just now starting to learn.

“Redeemed”

“Jump the Mullet”

24”X36” Oil on Canvas

8”X24” Oil on Canvas

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“Kitty Hawk Pier”

24”X36” Oil on Canvas

Little Fishes

VooDoo Pelican

6”X8” Oil on Canvas

18”X24” Oil on Linen

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Nancee Jean Busse Painter of the American West

See NJ Busse’s profile in the November issue of Western Art Collector Magazine.

Coyote Spills the Stars

www.nanceejean.com njovmc@gmail.com 34 | VL Magazine - VisualLanguageMagazine.com

www.facebook.com/nanceejeanbusse 970.261.2028

Judith Anderson Capturing the World with Color and Light

Sturgeon Lake Shed , 9" x12" oil on linen panel

judithmandersonfinearts.com email: jmandersonfinearts@gmail.com

vlrees.com

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Capturing El Capitan

Eric Bodtker ericbodtker.com 36 | VL Magazine - VisualLanguageMagazine.com

Richard Levine Pastel Painter

Landscape and Figurative

“Being in Bruges�

RichardLevine.net Email: artisanrichard@gmail.com

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CFAI.co Colors On My Palette

Barbara Mason

http://dragonflystudiocreations.com http://www.cfai.co/#!colors-on-my-palette-interview/cy2z

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

As a little girl I enjoyed drawing and coloring.It was around middle school age when my art teacher encouraged me to enter one of my drawings into the Cancer Society of America poster contest. I won an award for a pen and ink drawing of a mother holding an infant child. I remember receiving a ribbon an my first Faber Castell professional pen set! I would not return to my first love (art) until later on in life at age 37. After reaching my career peak I found myself and searching for an outlet or hobby. At the age of 37 I returned to my first love(art) in the medium of Watercolor.

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

First would be my family! I have been blessed to have a family of artist people around me. There was always sewing, drawing, designing and writing surrounding me as a child. Next would be my first art workshop instructor who encouraged me to just paint and be myself and develop my own signature style.

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

I have had the pleasure of meeting and working with Dean Mitchell, Poncho Brown, Cydne Labonte and Sandy Meyer. All of these artists are master watercolorists, and have taken the time to share, critique and nurture my development whenever I have sought their help and advice. To me this has been a priceless gift.

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

Winsor Newton 300lb rough watercolor paper.

What brand of paints do you use?

Of Course, Winsor Newton professional grade watercolor paints.

Do you have a favorite color palette?

I have a very vibrant color palette.

Almost every painting has Winsor Red, Cadmium Yellow, French Ultramarine Blue, Burt Sienna incorporated into it. With these colors I can create a mixture of just about any color I need.

What is your favorite color in your closet?

Chartreuse, next would be tangerine orange!

I’m a walking bold color palette!

Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z 38 | VL Magazine - VisualLanguageMagazine.com

Dog Tired

Poodle Face

Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z VisualLanguageMagazine.com - VL Magazine | 39

Collectors Discover New Art Daily.

International Voices - Speaking Through Art

Professional Artists - Join the CFAI Family.

Membership Includes: •

Personal Coaching on Individual Art Marketing Strategies

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Heavy Brand Marketing of CFAI.co Member Artists

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Promotion of Artist’s Work on Multiple Social Media Sites

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Professional Gallery Page on the CFAI.co Website

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Over 100 Specialty Art Blogs to Choose From

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Monthly Art Challenges at a Discounted Rate

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Quarterly Juried Shows at a Discounted Rate

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Eligibility for Inclusion in the Annual Collectors Book

http://www.cfai.co

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LAU RA R E E D Abstract Collage Paintings

Life Experiences laurareed.artspan.com

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filomenabooth.com 42 | VL Magazine - VisualLanguageMagazine.com

filomenabooth.com

Filomena Booth

filomenabooth.com

“Random Acts of Color” 48”x36”x1.5” Acrylic on canvas VisualLanguageMagazine.com - VL Magazine | 43

artspan

Cecile Baird

http://www.cecilebairdart.com/

Kathryn Wilson

http://artbykathrynwilson.com

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Newest Works

Jo-Jo Kolodnicki, jr. http://jojowildpaint.com

Lisa Dombek

http://lisadombek.com

COREY WEST

Collaborate 36 x 24

Awakening 82 x 36

Face to Face 40 x 80

coreywest.artspan.com 13849 Mono Way . Sonora, CA 95370

coreywest.art@gmail.com

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Stinger Studio

http://www.stingerstudio.com 46 | VL Magazine - VisualLanguageMagazine.com

Rae Andrews Flotsam and Jetsam 16 x 40 Acrylic

http://www.stingerstudio.com

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Visit VL Gallery Rae Andrews at Stinger Studio Fragments (A Metaphor For Life) Rae Andrews is an Australian ex-patriot who moved to Austin, Texas after living on Maui for twelve years.

When asked what she likes to paint, she smiles , answering , “That’s easy, everything. I paint anything from landscapes to florals, portraits, seascapes and even abstracts, although when painting the latter, I always try to have some recognizable areas to identify, unlike a lot of my very talented peers”.

Rae’s latest solo show, called Fragments (A Metaphor For Life), is currently running at Stinger Studio (a part of Hill Country Design and Gallery in Georgetown just north of Austin), and runs till the end of January 2014. It comprises of semi abstracted colorful imagery, with a mix of landscape and florals .

Rae admits, “having just experienced the very sad loss of my sister in Australia, this show has been very cathartic for me. I needed to let my mind ‘explode’ with color and replace my grief with peace”. She admits there is something completely Zen-like for every artist when they get ‘involved’ in the whole process of their painting. “We are truly blessed individuals to have this pastime in our life”.

Never one to get too comfortable with her work, Andrews likes to mix her mediums, not necessarily in the one painting but seems comfortable exploring oils, acrylics, watercolors as well as pastels. Two noticeable element in her work are color and movement , where she pushes the envelope a lot, veiling and overlapping one color over another giving her viewers a sense of visual confusion, yet still able to discern the subject’s theme. “It must be my watercolor background I guess”, she says when asked about this veiling technique apparent in most of her latest paintings.

Rae says she will often begin a painting with just veils of color, no preconceived notion of what the subject will be. Over these ‘veils’ she fits and superimposes her subject . “The confusion is what I love about this way of painting” she says, “I never know how things will turn out, a lot can change during the process, and I have to be willing to just go with the angst”.

So what is her favorite medium? “I used to own the Northside Art School in Sydney and taught in the Charles Sturt University northwest of Sydney, where for many years I painted and taught only watercolor with some mixed water media. I became better known for this medium in Australia although I still dabbled in all the others as well even in those days.”

In her twelve years on Maui she owned two art galleries, and sold directly to her public. “I loved my life on Maui, paint for a few hours, went for a swim, then back in the gallery to paint again, it was quite a perfect existence”, she says with a smile on her face.Her work was always different to the larger art world on Maui. Rae says she has long admired realistic painting, and in her earlier years of ‘finding herself’ in Australia she did a lot of them, and as with a lot of artists , she wanted to challenge herself, and be different.

https://www.facebook.com/pages/Stinger-Studio/158466744192427 48 | VL Magazine - VisualLanguageMagazine.com

https://www.facebook.com/pages/Stinger-Studio/158466744192427 VisualLanguageMagazine.com - VL Magazine | 49

Visit VL Gallery Rae Andrews at Stinger Studio Now living in Austin, Andrews still continues painting and teaching her many techniques, there are no more fish and turtles she admits, they have been replaced with a much wider and diverse imagery now, however the color and drama is still there. This artist simply loves to paint and play, she says “I cannot visualize a day in my life without painting�.

Tree Focus 36 x 36 Acrylic

https://www.facebook.com/pages/Stinger-Studio/158466744192427 50 | VL Magazine - VisualLanguageMagazine.com

Santorini Cliff Hangers 30 x 40 Acrylic https://www.facebook.com/pages/Stinger-Studio/158466744192427 VisualLanguageMagazine.com - VL Magazine | 51

VL

Gallery Visit

Rae Andrews at Stinger Studio

Tidepool 3 24 x 48 Acrylic https://www.facebook.com/pages/Stinger-Studio/158466744192427 52 | VL Magazine - VisualLanguageMagazine.com

Flood Plain 36 x 36 Acrylic

Synergy 2 36 x 36 Acrylic https://www.facebook.com/pages/Stinger-Studio/158466744192427 VisualLanguageMagazine.com - VL Magazine | 53

Visit VL Gallery Rae Andrews at Stinger Studio

Synergy 30x 40 Acrylic See Rae’s Solo Show, Fragments (A Metaphor For Life) at Stingers Studio 1623 Rivery Blvd, Georgetown Texas Phone 512 869 5544 Hours : Monday and Saturday (by appointment only) Tuesday through Friday 10 - 5.30pm Or contact Rae at: www.yessy.comraeandrews raeandrewsgallery.blogspot.com

https://www.facebook.com/pages/Stinger-Studio/158466744192427 54 | VL Magazine - VisualLanguageMagazine.com

https://www.facebook.com/pages/Stinger-Studio/158466744192427 VisualLanguageMagazine.com - VL Magazine | 55

Vernita Bridges Hoyt “Painting the Sauce of Texas”TM

vbhoyt.com vbridgeshoyt.com txsauce.net 56 | VL Magazine - VisualLanguageMagazine.com

Texas Sauce Studio V. Bridges Hoyt Design

P.O. Box 86 • Spring, Texas 77383

DURNAVICH Ron Durnavich

Rain Forest 12 x 12

Emotion / Abstraction Ronsscenesiowa.com VisualLanguageMagazine.com - VL Magazine | 57

Dawn Waters Baker A Way of Listening

DawnWatersBaker.com 58 | VL Magazine - VisualLanguageMagazine.com

“I like to think of my work as a glimpse of the mystery. The metaphors of life held in branches, cloud wisps, and water. There is something that compels me to paint, not what is literally seen but what is felt. For me, the window into the spiritual is nature. I believe God is talking, without words, through His creation. Painting is my way of listening.�

dawnsartsite.blogspot.com VisualLanguageMagazine.com - VL Magazine | 59

Laurie Justus Pace

Ellepace.com

Above: Crossing the County Line 30 x 40 inches Oil on Canvas available through TheWhiteDogGallery.com Right Page: Running Color 32 x 48 Oil on Canvas available through Mirada Fine Art, Denver

Mirada Fine Art. Denver MiradaFineArt.com

Rare Gallery. Jackson Hole RareGalleryJacksonHole.com 60 | VL Magazine - VisualLanguageMagazine.com

Robert Kelly Home. Park Cities RobertKellyHome.com

South Hill Gallery: Lexington SouthHillGallery.com

Ellepace.com

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VL Artspan Studio Visit VL

GLENN MORETON

contemporary realism photorealist cityscape paintings

http://glennmoreton.artspan.com/ 62 | VL Magazine - VisualLanguageMagazine.com

http://glennmoreton.artspan.com/ VisualLanguageMagazine.com - VL Magazine | 63

VL

Studio Visit

Glenn Moreton

Painting and drawing have always been an essential part of my life. My aunt remembers me as a toddler propped up on a chair so that I could reach the blackboard that my grandmother had on her kitchen wall, spending hours drawing with colored chalks. Even during later times of my life when other priorities had taken over and I was not following my creative urges, art was still an essential—albeit suppressed—part of my life. Even then, my bottled-up compulsion to be an artist was omnipresent (and making me miserable). It seemed as if something inside me was fighting relentlessly to emerge.

Finally in 1985,after years of skirting around this creative need, I acquiesced and began painting professionally. I have enjoyed making up for lost time ever since!

Composition: When I paint, my primary goal is to create a composition that is aesthetically exciting.The typical viewer of photorealist or hyperrealist art will first be impressed with the often startling realism recreated in these genres of paintings—the striking reflections in a storefront window, the drama created by carefully placed shadows, or the flashy rendering of an automobile. Sometimes I find that photorealist/hyperrealist painters can duplicate reality with a technical facility that is awe inspiring, but their paintings may to have little to offer to the viewer beyond that technical slickness. Like all such artists, I attempt to create a technically sharp realistic image, but contrary to what one may suspect, that is not my chief preoccupation: composition is what fascinates me. To me, a complicated, tenuously, carefully balanced composition is extremely satisfying and contributes more deeply to the overall power of the work than do mere flashy rendering techniques alone.

Sunny Side - Shady Side 16” x 62”

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My Process:

artspan

A major part of my process is selection of the scene to be painted. I go to numerous locales, take countless photos and examine them, combine them, etc. often taking months until I find the right combination of visual elements, the right composition. My paintings are not mere reproductions of these photographs. I alter, rearrange, distort, remove, and simplify design elements according to the needs of my composition. My compositions always make use of visual rhythms--often through the repetition of similar shapes, through the contrast of vertical against horizontal elements, and through balancing of elements by use of color relationships.

Often--but not always--I briefly project slides of my photos onto the canvas, using projection as an initial tool in my painting process. Artists (e.g., van Eyck, Holbein, Caravaggio, etc.) began making heavy use of such optical tools early in the Renaissance, and have continued ever since. I project only a rough outline, after which, I continue with a more detailed freehand drawing. Not until this initial drawing is made do I begin painting. As I paint, I constantly change the drawing as I proceed, often distorting elements of the drawing/painting in order to enhance the composition, or to pull the viewer’s eye into the work. With my focus on drawing, it is not surprising that a specific characteristic of my process includes careful attention to line work. Loving lines and the visual energy that they project, I carefully outline all of the objects in my paintings, occasionally coloring the line in a hue that contrasts to the color of object, and using strong lines on outside edges of objects, and weaker lines on internal edges of objects--all techniques to better define how the object cuts through space and to make that image visually “pop.�

Another characteristic of my process is that I use the paint as both an opaque and a transparent medium (e.g. using glazes to create specific effects such as soft shadows, objects viewed through glass, the haze on distant elements in the landscape, etc.). As a quickly drying medium, acrylic paints facilitate the use of these dual techniques.

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Studio Visit

Glenn Moreton

Main Street Palms 42” x 24”

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Croissanterie 58” x 18”

artspan

Q Street

24� x 34�

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Studio Visit

Glenn Moreton

257 42� x 30�

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artspan

West Side Hollywood Wagon

Dupont Dyptich 26” x 45”

26” x 36”

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Studio Visit

Glenn Moreton

17th Street Promenade 26” x 40”

Hollywood 18” X 67”

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artspan My Subjects: It may surprise some people to learn that initially I pay little attention to the subject content of my painting. When selecting a subject that I am going to paint, I choose one with elements that will work aesthetically into an exciting composition. After that, I try to select subjects that suggest a distinctive mood that is representative of that particular locale; I try to give the observer a sense of place (though generally I try to avoid using obvious landmarks). Another characteristic of my works is that often they combine a hodgepodge of seemingly unrelated, contrasting subject components that blend together in a surprisingly unified whole.

I intentionally avoid consciously selecting my subject matter along political, social, or philosophical themes. Such calculated depiction of the artist’s viewpoint may seem heavy-handed and risks trivializing more profound subliminal messages. Also I avoid overanalyzing the subject content of my work. For me, nothing is more tedious than hearing artists drone on and on about the “profound” meaning of their work. Artwork should speak for itself. I find that when an artist designs a work to project a specific point of view or a very personal esoteric subject, the viewer’s experience is overly predefined and limited.

Yet, even though I intentionally avoid painting that overtly expresses a specific viewpoint, I must admit that I when I look at my completed paintings, I do find that my works do tend to spontaneously project certain themes nevertheless. I find that these themes are all the more interesting, powerful, and universal because of the fact that they have evolved unconsciously and unintentionally. One recurrent theme that I find in much of my work is that of the dynamics of change with the passage of time. Another theme is the juxtaposition of the urban environment’s complexity with that same setting’s role as a human environment. Finally, I find that my work often celebrates scenes that are uniquely American and typical of the U.S urban landscape.

10th Street 20” x 40”

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Shirley Anderson Painting Landscapes and Florals in Pastel

Golden Meadow

Sunlight and Shadow

shirleyandersonart.com

Day on the Beach

email: sranderson0930@sbcglobal.net

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Colorful. Sensitive. Bold.

Shadows Along the Path

May Flowers

shirleyandersonart.com

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DianeFairfieldArt.com The Uprising, 18 x 24, Mixed Media on Panel

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Diane E. Fairfield Impressions of Glory

DianeFairfieldArt.com DianeFairfieldart@powerc.net

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Hall Groat II

NATURE TEACHES COMPOSITION BEST

By Hall Groat, Sr Hall Groat II, Publisher

World travel offers a unique opportunity to witness breathtaking sights. Understanding what you see and why this vision may stay with you for a lifetime is important to an artist. In reviewing my travels alone, and later with my wife, many incredible scenes were witnessed. Everyone is exposed to the beauty around them and many take it for granted. However, an artist may train their eye to interpret the grandeur of nature, as well as its aesthetic composition.

Many artists develop a heightened sense of reality, with the ability to analyze subject matter for use in their painting. Certainly, this is true with a painter or a professional photographer. Answering questions about the basic design elements become second nature to an artist. What is found in the foreground, middle ground or background in a scene is organized with ease.

They may look for lines of opposition to create power in their composition. The negative and positive shapes and the juxtaposition of one form to another are mandatory considerations.

The temperature of a painting is also important in selecting your color pallet. The list could go on eternally, as nature is in a constant transition. Painters who work from nature develop the skill to adapt to changes in lighting. Those who use photos for reference have an easier time, although they may miss out on the spiritual connection to the environment and subject. Serious painters experience many ways of interpreting their subject matter, even if entails painting out in inclement weather.

Alaska, from the deck of my troupe ship in the army was a view to long remember. As the ship entered the inland sound, the waters were calm, offering relief from a previous storm at sea. Northeast of Vancouver was the worst weather of the trip. Being on deck was now the best place to hang out, as most seasick soldiers stayed below in their bunks. The midnight sun and the northern lights created an unusual aura. It was spring and melting chards of ice were sliding into the sea. The air was clear and you could see a hundred miles, as if it were a short distance away. The violet and turquoise colors of icebergs reflected in the deep blue waters were enhanced by the salt air. As a painter, I found inspiration and a desire to capture these subjects on canvas. Although the Marine Phoenix was hardly a recreational ship, Alaska offered a look into the wonders of nature.

Sailing through inland waters near Sasebo, Japan revealed a dazzling display of lights reflecting everywhere. Hospital ships with giant red crosses were a reminder that in a few days Korea was to be my next trip and possibly a one-way journey. Cargo ships, naval ships, Japanese fishing boats, and lights from distant hillside homes and gardens covered every inch of land. I was mesmerized by the beauty of this harbor at night. Years later, I was able to recall this scene in my watercolor paintings. Beauty of this magnitude, you never forget, and many of my watercolor works are built around the suggestion of the port of Sasebo.

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Green Lakes Winter by Hall Groat Sr. 30x40 inches Acrylic on Panel

Switzerland offered another type of visual excitement. The most beautiful city on a lake I have ever seen is Lucerne. Unfortunately we were only there for two days. The city is like a jewel and the Swiss keep it pristine with immaculate homes. I later did some acrylic paintings of beautiful homes by the water. Winding through the Alp’s is an unnerving experience in a tour bus. The drop-offs were literally thousands of feet down. Hundreds of mountain waterfalls were very inviting as subject matter for my painting. Working in a vertical format can be challenging to a painter. I have been conditioned to a conventional type of countryside at home in Manlius. It takes a while to orient yourself to extreme vertical compositions as seen in the Alps.

The Matterhorn can be a challenge to see. When we checked into our lodge, a few tourists said that they were unable to see the mountain once and left disappointed. On our second morning in the Alps, I looked out the window and only saw billowing clouds. I stood staring for a long while, but realized I was not looking up high enough. Straight up overhead, the clouds finally parted for about ten seconds.

That famous scene of the peak of the Matterhorn appeared, and soon disappeared. Later in the day it returned to stay for the rest of our trip. I did some small color studies of this majestic mountain. When you paint a picture of something, you also record it in your memory. Years later I painted it in different views with cloud formations in my Manlius studio. This mountain has a very distinctive shape that is unlike any other I have seen. Some of these works were sold a few years ago to a Chicago collector.

HallGroat.com

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Hall Groat II

NATURE TEACHES COMPOSITION BEST

The Hale-Bop Comet offered the most unusual sighting, witnessed by my wife Rosemarie, from her window seat on our flight to Florence. It was 1977 and 65-year-old Marshall Applewhite, head of Heaven`s Gate, a religious group, had been dining at a San Diego restaurant. Thirty-nine intellectual men and women firmly believed in Applewhite and agreed to join him in his exodus from planet Earth. By hitching a ride with the comet they could find a better life aboard Hale-Bopp. A joyous bon voyage dinner was held in honor of the group’s departure from earth. Applegate split his devotees into three groups and they systematically committed suicide by using phenobarbital.

The suicides took place over a three day period. Any member of the cult found still alive would be suffocated by a remaining member, who would put a plastic bag over their heads. A matching purple shroud would then be covered over each deceased member in preparation for their departure from earth. Meticulous preparation was taken in packing matching black suit cases by each departing member. The suicides were carried out in the Santa Fe mansion.

Applewhite had leased for Heaven’s Gate. After the tragedy was discovered, investigators were awestruck by the order and neatness of the room full of corpses. I was disappointed to have missed seeing Hale-Bopp pass over. I was drinking beer with a group of Italian businessmen, while my wife was reading at our assigned window seats. By the time she caught my attention, it had gone past. By coincidence, my nephew Stuart Grauer, President of his private school, had been dining at the same restaurant in San Diego. Seated at a long table nearby the cult, Stuart and a colleague could observe Marshall Applewhite and his 39 cult members. They were dressed in matching outfits in celebratory preparation for their departure from earth. They appeared to be having a joyous bon voyage party. Upon finishing dinner, the entourage went to their Rancho Santé Fe mansion Applewhite had been leasing for Heaven’s Gate. At a predestinated room in the mansion, each cult member ingested a lethal dose of phenobarbital, along with their leader. They all believed firmly, a new life would await them by trailing along behind the Hale-Bopp comet. I missed the opportunity to wave farewell as the comet flew by our aircraft. I have often wondered if Marshall Applewhite and his Heaven’s Gate group noticed my oversight.

The Hale-Bopp Comet offered the most unusual sighting, witnessed by my wife Rosemarie from her window seat on our flight to Europe. It was 1977 and 65 year old Marshall Applewhite, head of Heaven’s Gate, a religious cult, had just finished leading his 39 members into a suicide pact and exodus from earth. By coincidence, my nephew Stuart Grauer, owner of The Grauer School, along with wife Sally, had been dining at a San Diego sports bar, just prior to this horrific tragedy. Stuart told me, “ Sally and I didn’t realize who these people were at the time, but observed the strange group at a long table, looking somber, and dressed in new matching black Nike sportswear. All these men and women also wore matching white sneakers. There were at least twelve seated for dinner.” After dinner they left, and Marshall Applewhite escorted the first of three groups to Rancho Santa Fe where Heaven’s Gate had leased a room. As a cult leader, skilled in the art of persuasion, the group had complete faith in Applewhite, and he had indoctrinated them into believing that the world would end soon. Their only salvation was to exit earth in their vessel. Vessel, meaning HallGroat.com 78 | VL Magazine - VisualLanguageMagazine.com

meaning their dead bodies, required to transport them to a new world. He explained that after death they would follow behind the Hale-Bobb comet and be taken to the new world. Each member had packed a matching black traveling case, to accompany their vessel away from the doomed earth and a better life. Phenobarbital was the poison taken by each member, followed by a chaser of vodka. A back-up member would be on hand to place a plastic bag over any member still living, and suffocation would insure death. Each member in turn would place a matching purple shroud over a deceased member as their proper attire for the trip. This process would be repeated for three evenings, until all members icluding Applewhite were dead. It would be several days later when the room full of corpses were discovered.

Investigators were awestruck on how neat the bodies were laid out. Applewhite had orchestrated a mass suicide, and was able to leave the room immaculate. After Rosemarie had spotted the comet, she called to me to hurry to the window. I was too late and failed to catch a glimpse of Hale-Bobb orbiting over our airplane. I missed the opportunity to waive farewell to the Heaven’s Gate vessels trailing the comet.

Emerald Seas, Rockport, Maine 30Ă—40 in. Oil by Hall Groat, Sr.

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Valerie Travers

Kaleidoscope

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

Captivated by the textures of nature.

BYLINE Rolling Surf

ValerieTravers.com

Kimberly Santini

VL

Kimberly Santini

I’ve always been an artist, even if I’ve not actively labeled myself one. As a child, I doodled animals in the margins of spelling tests and daydreamed of painting murals. My parents indulged me with Ebony pencils and gum erasers, and I covered the backside of reams of paper from my father’s office with drawings. I checked out every book on art in our small town library, and was happiest when creating.

I would say that’s still a solid truth. Art infuses every bit of my life.

I have a BFA in Painting, but I think the degree/experience that helped me the most was the BA I earned concurrently in Art History. There is nothing like immersing yourself in masterful artwork, dissecting it, learning about the struggles and challenges of prior generations of artists, and refining your own critical eye. The hours spent in a darkened lecture hall, viewing hundreds of slides, and discussing comparisons and contrasts has helped me immensely in learning to recognize and identify the qualities of “good art.”

As a younger artist, I wanted my paintings to look exactly like my subjects. I worked in hyper realism, literally defining each hair. Gradually I became interested in emotional content and symbology, and began working in a looser, more colorful style, allowing the compositions to tell a story. In graduate school I even spent time doing installations and color field abstracted paintings. Currently I concentrate on building mood through use of expressive color and painting the atmosphere around the subject – and those are the things I’m best known for stylistically.

I paint objects that make me smile. Which means there are a lot of animals in the mix, but also vintage books, old toys, and other odd items that I find delightful. I feel it is mostly important that there is soul in my artwork, whether a physical soul from a breathing creature or the soul that cherished memories carry.

Painting animals means I rely on photographs as main sources for my paintings. However, working exclusively from photographs can seriously limit an artists’ options – after all, the camera has only one “eye” and is very skilled at lying. So it’s important to spend lots of time looking at my subjects, studying the light, and trying to work from a visual memory (or life) as much as possible. There is no substitute for knowing your subject matter.

My studio is in my home, which gives me great flexibility to work when the opportunity presents itself.

I flex my days around my family’s needs – grabbing about 8-10 hours in the studio each day, 6 days every week. Approximately 80% of my time is spent doing things other than making art – maintaining my mailing list, generating marketing materials, managing inventory, handling client correspondence, building lesson plans and class content and singlehandedly doing all the grunt work involved in running a small business.

Reilly 18” x 24”

http://paintingadogaday.blogspot.com/

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Kimberly Santini

Beamer 8” square

7th Inning Stretch 9” x 12” http://paintingadogaday.blogspot.com/

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Kimberly Santini

I’ve been a daily painter since 2006, and create at least 4 new pieces, usually Alla Prima, each week. The commitment to painting daily has taught me discipline and perseverance, often in the face of other obstacles that might otherwise have kept me out of the studio. The act of pushing paint regularly has helped me to work smarter and also freed me up to make – and learn from – a huge variety of mistakes! And painting daily has been a great work ethic model for my kids to see – they have grown up creating (or doing homework) alongside me.

I work in acrylics, mostly because they are fume free (an important aspect when working in one’s home) and quick drying (another important aspect when there is a constant flow of kids coming and going). I’m also an impatient artist, and acrylic paints enable me to move at a faster pace. When I get an idea, I want to get immediately to the paint – no preliminary sketches or planning – which can mean lots of corrections on the painting. This can be a good thing in that the spontaneity remains visible in the finished piece, but it can also be a detriment when a composition fails due to incomplete planning or lack of thorough thought. And again, acrylics lend themselves perfectly to working in this fashion.

Like Her Momma 6” x 8”

http://paintingadogaday.blogspot.com/

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4 OClock 8” x 10”

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Kimberly Santini

Fiddlesticks 9� x 12�

http://paintingadogaday.blogspot.com/

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Telling Secrets 12” square

I’m also active in my community – I volunteer at local schools, teach art journaling, and help with programming at my local library. On top of all this, I manage an active exhibition calendar, share my art at juried events around the country and travel to teach multi-day painting workshops.

I wouldn’t have it any other way – days spent playing with pools of color, and getting to share my passion with my family and the community of fans that’s built up on the internet. It’s a great gig!

I am accepting a limited number of commission requests for 2014, including figural and animal portraits. My daily paintings can be seen at http://www.paintingadogaday.com and can be reached via email at ksantini@turtledovedesigns.com . Please follow me on Facebook, where I share in-process photos of paintings on my easel, among other art-related things . https://www.facebook.com/KimberlyKellySantini?ref=hl http://paintingadogaday.blogspot.com/ VisualLanguageMagazine.com - VL Magazine | 91

kylewoodfineart.blogspot.com

kwoodfineart.com

Kyle Wood

ARTIST

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kylewoodfineart.blogspot.com

ART Contemporary

kwoodfineart.com VisualLanguageMagazine.com - VL Magazine | 93

Roseanne Snyder

Abstract 24 x 36

Diversity in Color and Compostion roseannesnyder.blogspot.com roseannesnyder.blogspot.com 94 | VL Magazine - VisualLanguageMagazine.com

Texas Contemporary Artist

Mountain 18 x 22

roseannesnyder.blogspot.com

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Jacquie McMullen ParadiceRanch.com

Jacquie McMullen is an award winning pastel artist who has been painting and drawing for as long as she can remember. While she had painted in oils for years, an artist friend introduced her to pastels about 20 years ago and she fell in love with the medium. She lives in Dublin,Texas with her husband of 41 years.

She paints every Monday with a group of artists in Dublin, is a member of the Artists of Texas, and past president of the Seguin Art League, and has been involved in the Austin Pastel Association, as well as the New Braunfels Art League. jdmportraits@me.com

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Presence 40" x 40"

Elizabeth Chapman

Contemporary Abstract Artist melizabethchapman.artspan.com VisualLanguageMagazine.com - VL Magazine | 97

CFAI.co

Contemporary Fine Art International

Maryann Lucas

www.cfai.co/#!juried-shows/c19ne 98 | VL Magazine - VisualLanguageMagazine.com

Winter 2013 Juried Show “Still Life�

Barbara Churchley

Enter Today.

$500 in total cash prizes Plus much more!

Open to 2D visual artists worldwide www.cfai.co/#!juried-shows/c19ne

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Kimberly Conrad Contemporary Artist

“Pouring Color Into Your Life”

A Beautiful Storm I Acrylic on Canvas

Commissions Welcome KimberlyConradFineArt.com

A Beautiful Storm II Acrylic on Canvas

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kwronski.com Elvis

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Kathryn Wronski Contemporary Animal Painter working in Oils

Cat in Your Face

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ARTSPAN Artist Spotlight

artspan

“Afternoon Shadows” 24 x 36

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Kathy O’Leary

Blood Money 24 x 30 Oil on Canvas

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ARTSPAN Artist Spotlight

artspan

Kathy O’Leary

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

In 1989, having rediscovered I still had my drawing skills (developed from early college experience) I was drawn to painting and drawing again as a release from stresses of my job.

As my skills grew rapidly I decided in 1990 that I wanted to leave my job and work closer to the field of art. After a year working for the local art’s council, being around art every day, artists, helping curate and hang shows, I quit to work full time at my own art. I committed myself to learning as much as I could, to see whether I could do this professionally. I honed my skills working at first in watercolor, pastel, mono printing, and finally trying oils. From my first experimentation with oils as a medium (in ‘94), I knew immediately that this was my medium and that the life I wanted was as a painter working in oils.

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

I live in an artistically rich community, surrounded by supportive talented artists, but my greatest influence has come from a circle of local women artists (working in various mediums) I’ve grown close to over the years. They have supported, encouraged and challenged me (and each other) and together we have grown beyond where our individual dreams could have taken us.

Who is another living artist you admire and why?

The artist (and friend) I admire is a painter named Jim McVicker. He is now beginning to garner much deserved national recognition for his work. I admire him for his skills as a painter, his ability to interpret beauty in the landscape, the still-life and the figure. All without any apparent ego, willing to share his thoughts, and open to learning from others. He works only from life. His studio was close to mine when I was starting out, and I watched him (and his wife, Terry Oats) come to work everyday to his studio 7am - working in the studio or on location, until the sun set. He was such a good model for me to learn how you grow as an artist. Now I see his artistic sensibilities, his drive and commitment to his craft paying off.

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

My favorite surface to work on is good quality canvas or linen, double primed, preferably oil primed.

What are your favorite materials to use?

My favorite materials include good quality oil paints (I’m still exploring colors/brands that work best for what I’m trying to do. My favorite medium (used sparingly nowadays) is Dan Smith Alkyd medium, cut with poppy oil and Gamsol (mineral spirits). My favorite brushes right now are Windsor Newton hog bristle, flats and brights.

Do you have a favorite color palette?

3 blues - Ultra Marine, Kings Blue, Cerulean 3 reds - Alizarin crimson, Cad. Red med or other Medium red &Transparent Earth Red 3 greens - Sap Green, Veridian, Cadmium green 4 yellows - Raw umber, Yellow Ochre, Cad. Yellow deep, Cad. yellow light (or lemon yellow) White - Usually Titanium or Titanium/zinc white http://www.kathyoleary.com/ 106 | VL Magazine - VisualLanguageMagazine.com

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

I work on my art, almost daily. At least 6 days/week, probably 40 - 55 hrs/week.

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

Probably the change I made in mid-life from working in the natural food business to being a professional artist. I’m an example of that fact that with hard work, commitment, and a passion for art, it can be done.

“Morning Shadows and Mustard” 30 x 40

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ARTSPAN Artist Spotlight

artspan

Kathy O’Leary

“Earth, Air, Fire -Mt. Shasta”, 18 x 24 painted on location (plein air).

“Back Country Trail”

24 x 36

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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?

What stands in my way the most is self-doubt, sometimes fear of failing at what I’m trying to do.

How do you overcome these obstacles?

I over come this, sometimes more successfully than others, by going to work every day. Starting a new painting. By reminding myself it’s about the process and not to allow myself to get immersed in the competitive and comparative mode with other artists. Going to museums, galleries, reading books on art, all show me how very different we all are as artists, and there are many paths to living an artistically creative life.

What are your inspirations for your work?

My inspiration for my work first and foremost comes from my travels and explorations of the landscape in my home state, California. Next it comes from visiting galleries and museums and seeing all the different takes possible on any one subject. I try to pay attention to what really touches me at a visceral level. I’m inspired by those artists who take off on a different style, mode to express themselves, particularly those working with the landscape as their subject.

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

Some of my favorite ways to get my juices flowing are: -Meditate first before starting work for the day.

-Doing a small painting (6 x 8) of some subject (ex: photo of a landscape), or small still life, using 100 brush strokes (or close to it).

-Hanging a large piece of blank paper on my wall and with tempera paints, taking about 30 minutes to paint what ever I’m feeling, using big brushes and bright colors )sometimes totally abstract, sometimes figurative).

Which work of yours is your favorite?

Right now, it’s “Earth, Air, Fire-Mt. Shasta”. Painted on location it’s one of my newest ones.

http://www.kathyoleary.com/

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ARTSPAN Artist Spotlight

artspan

Kathy O’Leary

“Dunescape” 36 x 48

“Indian Island View” 30 x 36

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ARTSPAN Artist Spotlight

artspan

Kathy O’Leary

“Evening Surf” 24 x 26

http://www.kathyoleary.com/

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Getting to know you Q&A What is your favorite color in your closet?

Red

What book are you reading this week? Richard Schmid’s Alla Prima II

Do you have a favorite television show? Bones, & Antiques Road Show What is your favorite food? East Indian What color sheets are on your bed right now? Green What are you most proud of in your life? With my husband of 47 years, raising an intelligent, sensitive, hard working, progressive son, who in turn is an amazing parent and marriage partner, and making a successful mid-life career change.

Who would you love to interview? My long dead great uncle, Willard “Spud” Johnson, a writer and poet, and good friend to writers (D.H. Lawrence) and artists (Georgia O’Keefe) in Taos New Mexico between 1930’s - 1960’s.

Do you have a passion or hobby other than painting? No. Who would you love to paint? The women in my circle of women artist friends.

If you were an animal what would you be and why? Human If you were stranded on a desert island and could only take three things, what would they be? A watercolor paint set, paper, some good pot.

Share something with us that few people know about you. That I have a degree in Social Welfare.

If you could live anywhere in the world, where would you live? Somewhere in central, rural California, close to our son and his family, equidistance to both ends of the state I love to paint, with a home and studio surrounded by several acres of natural, interesting landscape.

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Mary Jo Zorad

ZoradArt.com

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DAILY PAINTERS

Nancy Eckels

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ABSTRACT GALLERY

Barbara Van Rooyan Blue Canyon II

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Studio Visit

Dyan Newton

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VL Studio Visit Dyan Newton Dyan Newton is from Abernathy, a small town in West Texas. She could not be the artist she is today without the support of her husband and family, and without her God given talent.

Dyan discovered her passion for art over 30 years ago, when a neighbor introduced her to tole painting. She said she would never forget how nervous she was to take that first brush stroke. While in class, she observed students from across the room oil painting on canvas. This led to classes in pastels, watercolor and acrylics. Several years later, she won a first place award at the local fair and said the excitement she felt was indescribable. This would be the start of her career.

Her earlier works were of a realistic style, but, after studying with local and wellknown artists throughout the years, she was able to develop her impressionistic style. She would become widely recognized for her fresh, confident brushwork with bold, rich colors to express her enthusiasm for painting.

Dyan enjoys painting a variety of subjects from landscapes, architectural, animals, still life, and portraits. Many areas of interest catch her eye; it can be a dilapidated civil war home in an Amish community in Missouri, a momma cow and her calves roaming down the back roads of a small mountain community in New Mexico, a little boy sitting in the back of a pickup holding his puppy, watching a rodeo, a young child standing in awe while listening to a band in a park, or quaint churches and run down barns and houses off the beaten path. She can take a photo of a shabby building, church, barn, ranch house and paint with her vibrant colors and bring them back to life.

Better Days

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Right Page: Church in Truchas

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Studio Visit Dyan Newton

Seldom painting with local color, Dyan has developed a palette with bright, rich colors. Her paintings are bold, energetic and clean, with confident brushstrokes. A constant change of colors keeps her paintings fresh and spontaneous. Many times she paints her rooftops with brilliant oranges and reds with touch of teal (not having really any meaning but just thinking of cool into warm). When her painting is near completion, she sporadically uses exciting bold touches of red, teal, pink, whatever feels right at the moment, to finish telling the story.

Momma’s Watchful Eyes

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Feeding Time

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Studio Visit Dyan Newton

Title: The Current Medium: Acrylic and Mixed Media Size: 20” x 20”

Title: Hugging The Shore Medium: Acrylic and Mixed Media Size: 20” x 20”

Puppy Love

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Grand-dad’s Favorite Ride

Dyan paints many animal portraits in photo-realism. She tells her clients she just needs a good, clear, close up photo, in order to observe every detail. Her collectors all fall in love with the final painting as Dyan captures their personality perfectly.

Dyan is a signature member of the West Texas Watercolor Society and a member of Artists of Texas.

She has been juried into many local and regional shows receiving numerous awards. She also teaches and gives workshops in Amarillo, Lubbock and surrounding communities.

The beauty of a summer day or the innocence and “awe” she sees on a child’s face inspires her to paint. That is exactly what Dyan wants to capture in each composition to convey that feeling to the viewer, the same initial joy that she felt when she discovered the scene originally. Many viewers say they love her paintings’ vibrant colors and how they radiate “happiness”.

Dyan Newton’s works can be found in private and corporate collections throughout the United States and internationally.

Her paintings can be viewed at www.dyannnewton.com, www.artistsoftexas.org., and peachtreegallerylubbock.com.

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CFAI.co Fall 2013 Juried Show “Colors of Autumn”

Best of Show

Jason Tako Autumn Maple http://jasontako.com

http://www.cfai.co/#!show-winners/cyep 126 | VL Magazine - VisualLanguageMagazine.com

CFAI.co Juried Show Fall 2013

First Place

Brooke Crosthwaite San Diego http://brookecrosthwaite.com http://www.cfai.co/#!show-winners/cyep VisualLanguageMagazine.com - VL Magazine | 127

Second Place

Freya Kazemi Happy Place http://artcentury21.com http://www.cfai.co/#!show-winners/cyep 128 | VL Magazine - VisualLanguageMagazine.com

CFAI.co Juried Show Fall 2013

Third Place

Annie O’Brien Gonzales Las Golondrinas http://annieobriengonzales.com

http://www.cfai.co/#!show-winners/cyep VisualLanguageMagazine.com - VL Magazine | 129

Honorable Mentions

Darla McDowell - Local Color Persimmon

Jonelle T. McCoy- Leap, Don’t Fall http://www.cfai.co/#!show-winners/cyep 130 | VL Magazine - VisualLanguageMagazine.com

John Wilson- Winter Canyon

Marta Collings- Sunrise Serenity

http://www.cfai.co/#!show-winners/cyep

CFAI.co Juried Show Fall 2013

Honorable Mentions

DianeWhitehead.com “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. “ 132 | VL Magazine - VisualLanguageMagazine.com

Diane Whitehead

DianeWhitehead.com

DianeWhitehead.com

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REDHEAD GRAPHICS STUDIO Design Services for Artists

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

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Lisa McKinney

New Media Graphic Art

Fallout

Lisa-McKinney.com

lmckinneygraphics.blogspot.com

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Lary Lemons

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Kay Wyne

Karen Balon

Jill Saur

Palette Knife Artists

Kimberly Conrad

Tom Brown

www.paletteknifepainters.blogspot.com

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Natasa Vretenar

Filomena Booth

Karen Tarlton

Judith Babcock

www.paletteknifepainters.blogspot.com

Lori McNamara

Carol Schiff

Laurie Pace

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VL Photographer Spotlight Gregory Gibson

Arc

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artspan

The Fence

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VL Photographer Spotlight Gregory Gibson

Gregory Gibson is a photographer, graphic designer and writer. He lives and works in the Los Angeles area.

As an ex-painter, Gregory was always compelled by the photographic image. They played a vital role in his early mixed-media paintings, drawings and prints. Presently, Gregory concentrates solely on the photograph as his main method of visual expression. They have become, in effect, his paintings. gregworld.artspan.com gregworldone.com

Tree http://www.gregworld.artspan.com 142 | VL Magazine - VisualLanguageMagazine.com

artspan

Archway http://www.gregworld.artspan.com VisualLanguageMagazine.com - VL Magazine | 143

VL Photographer Spotlight Gregory Gibson

Palm Trees http://www.gregworld.artspan.com 144 | VL Magazine - VisualLanguageMagazine.com

artspan

Bridge

http://www.gregworld.artspan.com VisualLanguageMagazine.com - VL Magazine | 145

VL Photographer Spotlight Gregory Gibson

Silo http://www.gregworld.artspan.com 146 | VL Magazine - VisualLanguageMagazine.com

artspan

Dairy

Pixley http://www.gregworld.artspan.com VisualLanguageMagazine.com - VL Magazine | 147

Alejandro Castanon Vino Dipinte Art Gallery

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www.vinodipinte.com 602 Orient St

San Angelo, TX 76903 VisualLanguageMagazine.com - VL Magazine | 149

CFAI.co Art Challenge

CFAI.co December Art Challenge “Festive”

Best of Show - Kristine Byars http://www.cfai.co/#!challenge-winners/cb0j

Best of Show Who Wouldn’t Go Kristine Byars http://www.kristinebyars.com

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First Place The Piano Player Suzy Pal Powell http://www.suzypal.com

http://www.cfai.co/#!challenge-winners/cb0j

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Second Place Winter Glory Carol Schiff

http://www.carolschiffstudio.etsy.com

http://www.cfai.co/#!challenge-winners/cb0j

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Third Place Cherry Blossom Percher Nancy Medina http://www.nancymedina.com

Submit your portfolio to join

Contemporary Fine Art International

www.cfai.co/register

ART CHALLENGE

http://www.cfai.co/#!challenge-winners/cb0j

VL OilPaintingDVD.com Step by Step Demonstrations

OilPaintingDVD.com

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Hall Groat II

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Debbie Grayson Lincoln Texas Contemporary Western Illustrator NoworNever-Debbie.blogspot.com DebbieLincoln.com

BlueBonnet Roller

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BlueBonnet Mama

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The Five Graces Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zorad

the5graces.com

Diane Whitehead

Conni Togel

Mary Jo Zorad

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 their artworks - shows to the US and to Europe. All five artists are spread out over the US. 158 | VL Magazine - VisualLanguageMagazine.com

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

Debbie Lincoln

Laurie Pace

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http://davethepaintingguy.com/podcast/

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