Visual Language Magazine Vol 3 No 9 September 2014 by Visual Language

Visual Language contemporary fine art

features Marcia Baldwin James Loveless Jan Sasser Milton Wagner J W Burke Carol Jo Smidt Fran J Scott

September 2014 Volume 3 No. 9

James Loveless JamesLoveless.com

VL visual language contemporary fine art

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

September 2014 Vol 3 No 9 ÂŠGraphicsOneDesign1998-2014 2 | VL Magazine - VisualLanguageMagazine.com

VL Cover Artist

James Loveless Contemporary Fine Art As a young boy, I constantly brought books to my mom and dad so they could read them to me. It was a wonderful time that I could enjoy being their center of attention. My folks would also tell me about life lessons that still influence me today. I felt that I was probably not the only child that experienced those wonderful memories. That is how and why I imagined the image of a grandfather reading a story to his granddaughter. “Story Time” is a 30” X 30” oil painting on board.

Jamesloveless.com

Grateful on the Trail of Tears, Oklahoma

The Centurion

VisualLanguageMagazine.com - VL Magazine | 3

Gaye Sekula

“A Pregnant Moment”

Deep in Sandias

“We lose ourselves in the things we love. We find ourselves there, too.”

sekulastudio.com

content

Cover Artist James Loveless 3 Incredible tales from the Old West with James Loveless.

Painter’s Keys - Sara Genn 11 VL Artist Features - 16 Isabelle Gautier, Lelija Roy, Linda McCoy Bob Coonts, Alejandro Castanon

CFAI Colors on My Palette 46 Patricia A Griffin

Read the up close and personal interviews from CFAI.co Find out more about the artist, their inspirations and how they approach their work.

VL Studio Visit with Marcia Baldwin 52 “I remember standing and staring at a charcoal drawing she had done and was framed in her dining room. It captivated me, even as a small child.”

VL Features International Equine Artists Museum Show; El Paso, Texas 66 Museum Show with Juried Signatured Members of the IEA August 4th through September 28th

VisualLanguageMagazine.com - VL Magazine | 5

VL Studio Visit with Milton Wagner 76 The crisp smell of aspen trees have always reminded me of the Colorado high country cowboy life. I was born and bred in a small mountain town in southwest Colorado.

VL Studio Visit with J.W. Burke 88 The Lonesome Crowded West by Dave Justus. “Some artists say they feel compelled to create, as if a voice inside is driving them in their craft. But for J.W. Burke, art was all about getting the voices to stop.”

VL Studio Visit with James Loveless 102 Art has been my passion for as long as I can remember. I love people and I have relished drawing and painting the figure since my grade school days.”

VL Mini Visit with Barbara Mason 110 Pastel Paintings by Barbara J. Mason inspired by a trip to Venice, Italy during Carnivale 2014

VL Artspan Studio Visit with Carol Jo Smidt 112 My fascination with the beauty and grace of horses greatly influenced my artistic path. Drawing horses as a 4 year old is my first recollection of my passion for art.

6 | VL Magazine - VisualLanguageMagazine.com

Barry Scharf 122

content

American Artists

Is it just me or have you noticed that our modern culture does not provide much for living hard working artists in the contemporary or classical visual arts? There are no living Picasso’s, no Leonardo’s, if you are not a dead painter or already famous for something else you are of little or no importance to this culture.

ARTSPAN Spotlight with Jan Sasser 134 When did you realize you loved art and wanted to be an artist?

I can’t recall a time when I wasn’t aware I loved art. Books, music, and visual arts were all valued in my family. As a child, I loved to draw and was inspired by the sketching of an older sister as well as my great uncle’s amateur painting and sculpting. When I asked for quality drawing supplies they were given, along with the imperative to treat them with respect and practice basic skills first.

CFAI.co Equine and Western Art Showdown 148 First Place Patricia A Griffin Second Place Jonelle T. McCoy Third Place Suzy Pal Powell

VL Artspan Photographer Fran J Scott 162 I started getting serious about photography in 2006 when some friends talked me into shooting a dressage show. What started as a hobby escalated into a profession.Though I have been working as a professional for some years, I still consider myself an amateur who creates some nice things once in a while.

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

VisualLanguageMagazine.com - VL Magazine | 7

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

Cindy Keichinger In today’s world, people tend to rush from “A” to “B” in a panic in case they are late for whatever. The World is a beautiful and interesting place, and we should take time to notice that, before the things that make life worthwhile are gone. With my artwork, I try to show people what they are missing and perhaps add some serenity to their busy lives. My artwork covers: nature, wildlife, landscapes from around the world, still life and people. Take a moment to look around the site , and “smell the roses”.”

www.goldenkstudio.com

artistofthedayvl.blogspot.com

If you want to be featured as an Artist of the Day, contact Visual Language Magazine. VisualLanguageMagazine@gmail.com

Carol Jo Smidt

â&#x20AC;&#x153;A White Horse"

www.caroljosmidt.com

Oil

9 x 12

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

visual language magazine Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Contributing Editor Lisa Neison-Smith Consulting Editor Nancy Medina Feature Contributor Sara Genn Painterâ&#x20AC;&#x2122;s Keys CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II Feature Contributer Barry Scharf VL Sponsor ARTSPAN Eric Sparre Advertising Contact: VisualLanguageMagazine@gmail.com Marketing and Development Executive Director Business/Management Stacey Hendren All Artwork is Copyrighted by the Individual Artists. Visual Language Vol 3 No 9

http://bobcoonts.com

http://alejandrocastanon.com

10 | VL Magazine - VisualLanguageMagazine.com

Robert Genn’s Studio Book

The one-millimetre rule

Not long ago, while in the middle of a private easel disaster, the phone rang. “Did you know that Tony Robbins recently took up golf?” asked a friend. She was calling from a new-age encounter session somewhere in the bowels of an inner city Marriott.” Apparently you can improve the accuracy of your swing by altering the angle of your club face by a millimetre or two.” I put down my brush in a previous resolve to scrape and re-mix. Things had gone from bad to worse in the space of a couple of millimetres. “I gotta go,” I said.”I have to make a small change.” Art, and making it a career, is one of those ever-evolving life works -- always in motion, growing wild or dying on the vine -- a work in constant need of pruning and care. “In business, you’re either growing or slipping,” said a dealer, once, just before he went into frozen yogurt. Here in the studio are brushes to clean, books to keep, galleries to care for. Habits clamour to be improved, and ideas lie waiting to be originated and cultivated, then executed with uniqueness and excellence. Often, artists entertain bold moves as a solution to floundering inspiration, disappointing work, or a lackluster bank balance. ”Insanity,” said Albert Einstein, “is doing the same thing over and over again and expecting different results.” Maybe a softer, gentler way can improve outcome. Before a drastic act, might we merely nudge a millimetre or two in the direction of quality? Here are a few ideas:

The Painter’s Keys - Robert Genn

The Painter’s Keys Robert and Sara Genn

What is uniquely yours and embodied in your work? It’s priceless. What is the most lust-worthy quality in your work? Make it obvious. Is there an area in your work where you’re cutting corners? Identify it. Do you have a favourite brush size? Go bigger. Do you have a preferred process? Do it in reverse. Do you overwork your paintings? Finish 10% underworked, rather than 1% overcooked. In the final presentation, is there an extra millimetre to give? Give it. Sincerely, Sara PS:”Quality is not an act, it is a habit.” (Aristotle) “Quality is always in style.” (Robert Genn) Esoterica: “Great things,” said Vincent Van Gogh, “are not done by impulse, but by a series of small things brought together.” Motivational speaker and self-help author Tony Robbins was born Anthony J. Mahavorick in North Hollywood, California in 1960. A self-described weakling, in pimples and poverty, Tony started selling seminars and embodying his own incantations. “Any time you sincerely want to make a change,” he says, “the first thing you must do is to raise your standards.”

VisualLanguageMagazine.com - VL Magazine | 11

goldenkstudio.com

Dusk Look Outs â&#x20AC;&#x201C; 9 x 12 Acrylic

goldenkstudio.com

Wildlife & Nature Artist Golden K Studio

Cindy Sorley-Keichinger

goldenkstudio.com

Cindy Sorley-Keichinger

goldfarm@telusplanet.net

VisualLanguageMagazine.com - VL Magazine | 13

Flow 3

ASHKENASI michalsart.com Michal Ashkenasi Photography michalsart.com

16 | VL Magazine - VisualLanguageMagazine.com

Artists to Watch and Collect Isabelle Gautier Lelija Roy Linda McCoy Bob Coonts Alejandro Castanon

Visual Language Magazine Featured Artists this month delve into the beauty of each of the five different artists and their unique approach to creativity. Isabelle Gautier’s art is a fascinating reflection of her European heritage and adopted American culture. Her extensive travels across all continents have left a lasting impression on her oeuvre, making her artwork both personal and universal. Lelija Roy paints landscapes: observed, remembered and imagined. Lelija’s current work speaks to her intense need to be one with the natural world and to celebrate the beauty of earth’s biodiversity. Linda McCoy found a fascination in birds when shooting with a new camera, capturing them in flight. .Bob Coonts works with a color palette reminiscent of the Fauvist movement and often combines both realism and abstraction in one piece. Coonts’ work has been likened to abstract surrealism, realism with an abstract point of view or imagined realism. Alejandro Castanon see life in colors and shapes. His senses are awakened to every nuance of movement and light as he faces the canvas to explore the fascination before him. Color explodes into energy.

VisualLanguageMagazine.com - VL Magazine | 17

Isabelle Gautier

www.IsabelleGautierOnline.com Isabelle Gautier grew up in Normandy, in a little village just a few miles from the Mont-Saint-Michel in western France. It was not until 1999 that she moved to Atlanta with her American husband and their two sons where they live and work today. Gautierâ&#x20AC;&#x2122;s art is a fascinating reflection of her European heritage and adopted American culture. Her extensive travels across all continents have left a lasting impression on her oeuvre, making her artwork both personal and universal.

18 | VL Magazine - VisualLanguageMagazine.com

Artist’s Statement“Is there a better way than art to bring people from all over the world together in a celebration of beauty?” Each canvas is a new opportunity to release my emotions and leave behind conventions. It is where I find my own balance and freedom to explore. With each new canvas, I try to indulge myself in complete freedom of expression. My quest is not to create the illusion of reality but to suggest with colors and composition the inherent nature of aesthetic objects and emotions.

Website: www.IsabelleGautierOnline.com E-mail: isagautier62@gmail.com Cell: 678 644 2527

VisualLanguageMagazine.com - VL Magazine | 19

Isabelle Gautier

www.IsabelleGautierOnline.com

Collections, publishing and reviews: In March 2014, Gautierâ&#x20AC;&#x2122;s work was included in the Saatchi Art Rebecca Wilson Abstract Art Collection (London) . In 2013 three of Gautierâ&#x20AC;&#x2122;s paintings were selected by Interior Designer Linda Woodram for HGTV Smart House in Jacksonville, Fl. In November 2013, Gautier was the featured artist in North Fulton Magazine. More recently in April 2014, as well as in March and November 2013 her work was published in Visual Language Contemporary Fine Art -International Voices-. You can also read reviews about the artist in Folio Weekly, FL - March 2013- Snap Roswell, GA - May 2010 and in Milton Herald, Milton GA - Sept 2008.

20 | VL Magazine - VisualLanguageMagazine.com

International artist Gautierâ&#x20AC;&#x2122;s art can be seen in the USA at: Muse & CO Gallery, Roswell, Atlanta GA : 2012-present Saatchi Art Gallery, London: 2013- present Bradfordâ&#x20AC;&#x2122;s Interiors, Nashville, TN: 2013-present VIEW GALLERY, MS : 2014- Present Atlanta MADE: 2013-present

Website: www.IsabelleGautierOnline.com E-mail: isagautier62@gmail.com Cell: 678 644 2527

VisualLanguageMagazine.com - VL Magazine | 21

Lelija Roy

http://www.lelija.net http://aspenspaces.com

Denver-based artist Lelija Roy offers landscapes: observed, remembered and imagined. Lelija’s current work speaks to her intense need to be one with the natural world and to celebrate the beauty of earth’s biodiversity. Her creative process is essentially terra-forming. Her multi-layered canvases start with earth, water and sky. Later she grows rocks and trees and plants. Although her inspiration starts in nature, rarely does she reproduce a specific scene. You recognize mountains, shore lines, forests but her intend is to place you in this space. So what you see is less important than how you feel. She wants you to feel surrounded and embraced by these organic forms. Hence, her mixed-media paintings are about the “space” created by the trees in a grove, the wind and water carved shape of a canyon, the quiet intersection of woodland and meadow or the ever-changing line between wet and dry sand on a beach. As an only child, my best friends were a box of crayons. My spirit poured on to countless pieces of paper. Her formal art trained began in the 1970s at the Art Students League in New York City and a BFA from the University of Bridgeport, Connecticut. Her early career in graphic design morphed into publishing, educational research and teaching; avoidably completing the circle as a full-time artist since 2005. Her work is held in both public and private collections throughout the U.S. and in several foreign countries. Lelija’s artwork can be found in galleries in Sedona, AZ as well as Denver, Breckenridge and Vail, CO.

Break Free 18x24

Primal Woodlands-12x18 diptych

22 | VL Magazine - VisualLanguageMagazine.com

April Tapestry-20x16

VisualLanguageMagazine.com - VL Magazine | 23

Lelija Roy

http://www.lelija.net http://aspenspaces.com

Sunlight Magic-20x16

Twilight Grove-12x36

24 | VL Magazine - VisualLanguageMagazine.com

Solstice-24x24

Day Dreaming-20x16

Finally October-20x20

Lelija expresses texture as color and color as texture. She works with acrylic paints and a long list of other water-based media pigments. Various rice papers, lace, silk, fibers, handmade paper and metals form the texture as well as the color. Lelija hand paints these materials and her process combines mono-printing, watermarks and numerous painting techniques. Resulting AspenSPACES typically include as many as twenty layers. Lelija is very careful to select only professional quality pigments. No published or published papers are ever used. To further assure archival quality, each piece receives an acrylic gel and a final UV polymer varnish. She carefully extends the image to all four sides of her gallery-wrapped stretched canvases, so no framing is required. You’ll find a wide range of sizes from 12”x12” to five foot by twelve foot triptychs. Lelija is very accomplished working on special landscapes for her clients and welcomes commission requests. www.aspenspaces.com aspen.spaces@gmail.com 303-355-0456

VisualLanguageMagazine.com - VL Magazine | 25

Linda McCoy

www.lindamccoyart.blogspot.com

Iâ&#x20AC;&#x2122;ve never painted birds until this past winter when the purchase of a new camera and an incredibly snowy, cold winter settled in on Ohio. I perched myself on a stool by the window, sketchbook and camera nearby. I watched them day after wintery day; feathers fluffed, trying to keep warm, feet wound around frozen branches. I hadnâ&#x20AC;&#x2122;t intended to start a bird series, but first there was one painting, then another and another. The day I caught them mid-flight everything changed. What were ordinary brown and grey Sparrows were now, with wings outstretched, glorious creatures in the sunlight. I paint them in oil, honoring their beauty as best I can; staying true to their color and pattern using an impressionist palette. They continue to intrigue me with their antics; fighting over sunflower seeds and for the best position on the feeder. For them, these are the glory days of summer; sunshine and warmth, more than enough food. Winter will come again though and I will be watching. I am represented by Davis &Co Fine Art Gallery in Spring, Texas, the Row House Gallery in Milford, Ohio, and ArtonSymmes in Fairfield, Ohio. Email: Lindamccoyart@live.com

Homeward Bound

Sparrow in Flight_Linda

26 | VL Magazine - VisualLanguageMagazine.com

Female Finch

Chickadee in Flight

Cruise Control

VisualLanguageMagazine.com - VL Magazine | 27

Bob Coonts

http://bobcoonts.com

A Colorado native and long-time Fort Collins resident, Bobâ&#x20AC;&#x2122;s painting style reflects his Western Heritage yet is uniquely his own. He strives for an image that is unusual and innovative. His work is often stylized, often whimsical, always colorful and strong in design and composition. Animals, landscapes, people, history and mythology provide him with a wealth of subject matter. He also produces images that are purely abstract or non-objective in nature. Bob works with a color palette reminiscent of the Fauvist movement and often combines both realism and abstraction in one piece. Coontsâ&#x20AC;&#x2122; work has been likened to abstract surrealism, realism with an abstract point of view or imagined realism. He paints, sculpts and dreams in his home studio north of Fort Collins, Colorado, where he and his wife Sallie live near a lake with a view of the magnificent Rocky Mountains.

28 | VL Magazine - VisualLanguageMagazine.com

VisualLanguageMagazine.com - VL Magazine | 29

Alejandro Castanon

http://www.alejandrocastanon.com/

Born in Torreon, Mexico in 1983 Alejandro soon moved overseas and spent most of his youth in Spain and Germany. His interest in art began at an early age and grew into a passion in his late teens. A self-taught artist he has explored many styles and mediums of art such as realism, abstract and use of graphite and charcoal. After serving eight years in the U.S Air Force he chose to move to San Angelo, TX to be present in his daughter’s life. In less than a year he opened the Vino Dipinte Art Gallery and began his artist career. After just two short years Alejandro has established a firm presence in the local art community as well he has been featured as an emerging artist in Visual Language International Art Magazine, and has been published in American Art Collector. He held a solo-show in November 2013 where he exhibited over 20 portrait paintings from which only a handful remain. His secret to acheiving such an incredible pace of success, “I don’t stop dreaming even when I’m awake, every event is an opportunity and every obstacle a new door waiting for me to walk through it. Attitude is everything and there is no such thing as a prayer answered without hard work”.

Gallery Representation: Vino Dipinte Gallery San Angelo, Texas Davis & CO Spring, Texas

Western Series

30 | VL Magazine - VisualLanguageMagazine.com

Texas Series

Colorem Face Series

Commissions are welcome: Email: vinodipinte@hotmail.com Phone: Tel: 361.237.9358

VisualLanguageMagazine.com - VL Magazine | 31

Overcoat â&#x20AC;&#x201C; Kimberly #2

ÂŠ2014 Robert Hopkins

Robert Hopkins Photography

roberthopkins.artspan.com

Email: rchopkins@optonline.net

Roseanne Snyder Contemporary Western Landscapes

Windmill with Shed - 16 x 20

Last Light - 16 X 20

roseannesnyder.blogspot.com

Rocky Ridge

D A L T O N Judy Wilder Dalton Contemporary Fine Art

Finding Art in Life and Life in Art judywilderdalton.com

wilderartist.blogspot.com

BAUER Logan Bauer

Landscapes,Life drawings,Still life, Figurative Portraits.

LoganBauer.com

Contemporary Realism and Beyond

Red-Shouldered Hawk - 20 x 20 Oil

VL REES www.vlrees.com

www.TippingPaintGallery.com

Aspen S P A C E S

Lelija Roy

www.lelija.net

aspen.spaces@gmail.com

ST E P HA N I E PA I G E

Stephanie Paige

CONTEMPORARY FINE ARTS GALLERY

THE CHRISTOPHER HILL GALLERY

LA JOLLA, CA

NAPA VALLEY

Solo Show September 4th -October 5th

www.ContemporaryFineArtsGallery.com

Solo Show October 11th www.CHGallery.com

CALVIN CHARLES GALLERY Solo Show December 4th

SCOTTSDALE, AZ

www.CalvinCharlesGallery.com

STEPHANIEPAIGESTUDIO.COM

discover art . inspire collectors

DAVIS&CO f i n e a r t g a l l e r y â&#x20AC;&#x153;Summer Nights at the Galleries of Old Town Springâ&#x20AC;? Saturday September 6th 5-9 p.m.

Home is where the art is. dandcgallery.com

engage discussion . celebrate life

dandcgallery.com

Laurie Pace at Davis&Co

CFAI.co Colors On My Palette

Patricia A. Griffin http://griffingallery.org http://www.cfai.co/#!colors-on-my-palette-interview/cy2z Where do you find inspiration to create new art?

I am inspired by the arrival of the sun each morning and all the beauty it illuminates, an empty canvas, a clean brush, a new tube of paint, an animal sighting. I am inspired by the work of my acquaintances and friends. I am inspired by trips into NYC to see the Masters and Contemporaries. My students. I am always inspired by my students.

What do you do to get past a creative block?

There are a few things that I do when I have a block. I step away from the canvas. I take photo’s of the piece and review them instead of the work its self, allowing a fresh eye. I do a self portrait to look within. I clean. Nothing gets me out of a funk quicker.

What is your favorite subject to paint?

I have painted my horse more than any other animal and there is a certain spot along the Delaware River that I have painted Plein Air for the past 24 years. That being said, the paint is more important than the subject to me. I will paint anything. The paint is where the dialogue begins.

What has been your favorite experience in your time as a professional artist? The ability to paint every day and use the best quality supplies I can find.

Who is an artist that you admire, and why?

Emily Carr. She was an adventurer, tough as hell, willing to take risks. Her work is raw and powerful. She never got hung up in unnecessary detail and each piece is full of emotion. “1871-1945 Artist and Author Lover of nature” reads her head stone.

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

42 | VL Magazine - VisualLanguageMagazine.com

Jeb Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z VisualLanguageMagazine.com - VL Magazine | 43

Leslie Sealey f i n e a r t

“Opening”

The Lily Series LeslieSealey.com

Linda McCoy

Title: Chickadee in Flight

Linda McCoy Gallery and Fine Art Instruction 209 S West Street, Mason, Ohio www.lindamccoyart.blogspot.com

clairebullfineart.com Email: lindamccoyart@live.com http://fineartamerica.com/profiles/claire-bull.html

Howard Tweedie A Passion for Plein Air

www.howardtweedie.com Right Page: “Argenton Easter Day” Left Page: “Paragliding Near Manly”

HowardTweedie.com

www.howardtweedie.com

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

•

Heavy Brand Marketing of CFAI.co Member Artists

•

Promotion of Artist’s Work on Multiple Social Media Sites

•

Promotion of Artist’s Events and Workshops

•

Professional Gallery Page on the CFAI.co Website

•

Over 100 Specialty Art Blogs to Choose From

•

Monthly Artists Showdowns Free for Members

•

Quarterly Juried Competitions at a Discounted Rate

•

Eligibility for Inclusion in the Annual Collectors Book

http://www.cfai.co

Jonelle T. McCoy https://jonellet-mccoy.squarespace.com/summer-2014-60series/

jonellemccoy.com McCoys Gaited Horse Artworks Sixty Series

CHAPMAN Elizabeth Chapman melizabethchapman.artspan.com

Contemporary Abstract Art in Acrylics and Mixed Media

“The Gathering” 36” x 36” Acrylic on Canvas

Jana Kappeler janakappelerstudio.com janakappelerstudio@live.com

www.williambeebe.com

Marcia Baldwin

Wolf Abstract 3618

www.mbaldwinfineart.com

Studio Visit Marcia Baldwin

My first memory of being captured by art was in my grandmothers home in Texas. She was very artistic with quilting and sewing, but at times would take classes in art using mediums such as charcoal and pastel. I remember standing and staring at a charcoal drawing she had done and was framed in her dining room. It captivated me, even as a small child. When we would enjoy a sweet afternoon or morning out on her huge porch, sitting in her double glider, she would sketch small things and give the paper and pencil over to me to try. My favorite subject, even then, was horses. She would encourage me and we would giggle at the funny subjects we came up with. My mom was the one who first started me painting. She enrolled me in a summer workshop with a noted artist, Louise Sicard, at our Louisiana state museum. Every morning, I would enjoy setting up my small easel and laying out my paints on my palette in anticipation of the famous artist to begin his demonstration and how we would first start on our paintings. It was information of color and brush stroke that I still retrieve in my mind even to this day, even after 50 years. We used oil paints for this workshop, and I am still in love with the smell of turps and oil paints, as much as all those wonderful days during that first workshop. Mom would take me to our local park next to our lake, full of swamp things, huge pine trees, and gorgeous bald cypress trees with Spanish moss on almost every limb. She would draw and paint in water color the most beautiful scenes and I would try my best to do what she was doing. But the most important thing I learned from these times, was to look and see and try to capture real nature on paper. I received my Bachelors of Fine Art from Louisiana Tech University in Ruston, La. in 1974. My most in-

www.mbaldwinfineart.com 54 | VL Magazine - VisualLanguageMagazine.com

fluential instructor was a fine artist/illustrator, Albino Hinahosa. His focus on good design, composition, figurative subject matter, and attention to detail were taught in a loose illustrative style. I incorporate the elements of design, learned in these years with him. Color theory classes infatuated me also and I reflect back on projects using and understanding color, how it affects the viewers eye, the emotions, the movements in a composition and in general how it creates excitement. Â I was very pleased to receive the 1974 Illustrator of the Year Award from Louisiana Tech University. Many years prior to attending college, my first most influential teacher was actually my elementary school principal, Mr. Middleton. He always had special projects going in the arts and I would be right there waiting to be included. One I remember so vividly was huge mosaic murals about the history of Louisiana and those murals still hang prominently in the cafeteria and auditorium of this elementary school. His encouragement to paint and draw garnered my very first award for a regional contest depicting thoughts on beautifying our city. I won a cash award and a spot on a local tv program. I was hooked. I loved being an artist and I was only 9 years old ! Â Art is so important in our early years and needs to be in our school programs. I believe working as an advertising designer had the most influence on my work today. It was challenging every day being creative on the spur of the moment. It was fast paced and you had to pay attention to client needs, detail, and incorporate all the elements and principles of design to be successful in this field. I use those skills today in my oil paintings, and paint with bold, fast, strong color and brush strokes. It is on an intuitive level, letting a painting come together through my minds eye.

Breaking Dawn Indian War Horse

www.mbaldwinfineart.com VisualLanguageMagazine.com - VL Magazine | 55

Studio Visit Marcia Baldwin

I welcome commission orders. Some of the collectors of my works of art, return for specific subjects and compositions on commission. We talk by email and by phone and decide on subject, size, and client photos (if needed). Most of the time, requests come in for a painting based on some of my past sold works, and I enjoy those the most. The client will specify a specific size canvas or will ask my opinion on size that I feel is most appropriate for a particular subject. It is always a joy to bring their requests to completion and send the painting to the client for their first “reveal” upon opening their carefully prepared shipping package. I take great pride in every work I send out. My love of horses goes way back about 56 years, when my mom and dad got our first horse for our family. I have owned and ridden horses ever since and found you could learn something new about them each day and still have much more to learn. In 1985, I created a video of how to draw the horse anatomy

Ebony and Ivory Gypsy Vanner Horses

www.mbaldwinfineart.com 56 | VL Magazine - VisualLanguageMagazine.com

and the simple and short “how to video” was bought by Walt Disney Productions for their study and an up coming animated movie. I was thrilled. In college, I still drew and painted horses, and at one point, one of my professors told me that if I would quit using bold colors and quit drawing and painting horses, I might become a good artist. This only made me want to explore the horse as a subject more and use even bolder color. The true love of horses, my intense desire to know them and understand their psyche, their anatomy, the look in their eyes and their true desire to please you, has brought me to this point in my painting style when painting horses. It is the awareness of the beauty of this magnificent creature that I want to convey in my paintings. I want viewers to understand how important this gift from God is and the need to protect our wild horses in America and beyond.

Mystic Power Equine Abstract

www.mbaldwinfineart.com VisualLanguageMagazine.com - VL Magazine | 57

Studio Visit Marcia Baldwin

Free Breeze Palomino

Indian War Horse 3624 www.mbaldwinfineart.com

58 | VL Magazine - VisualLanguageMagazine.com

Magic Moments Equine

www.mbaldwinfineart.com VisualLanguageMagazine.com - VL Magazine | 59

olorado Homes & Lifestyles

BEST ART GALLERY, 2010 & 2012 - 5280

TOP 24 GALLERIES IN THE USA, 2012, 2013 &

Artwork (l to r): Laurie Justus Pace, ‘The Gathering One’- Original Oil on Canvas,

miradafineart.com Svetlana Shalygina, ‘Silhousettes De Versailles’ - Mixed Media on Canvas, 36” x 36”

Bruce Marion, ‘The Adventure Begins’- Original Acrylic on Canvas, 36” x 48”; Alle

0 Magazine

A ‘STYLE-MAKER’

& 2014 - American Art Awards

- Luxe Magazine

‘STUNNING’

‘ART LOVER’S ESCAPE’

- Denver Life

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

32” x 48”; Larisa Aukon, ‘Continental Divide’ - Original Oil on Panel 24” x 36”; ”; Dominique Samyn, ‘Sage’- Acryilc & Venetian Plaster on Panel, 40” x 32”; en Wynn, ‘Joy Ride’ - Mixed Media Sculpture, 26” x 32” x 9”

“Wild White”

20 x 16 Oil on Canvas $1200

Janet Broussard JanetBroussard.com Email: Janet@JanetBroussard.com

Dyan Newton Colors of Life

Meadow Mission II

DyanNewton.com I love using bright, crisp, vivid colors with lively brushstrokes to express my emotions. I take pleasure in painting a variety of subjects, including landscapes, both architectural and scenic, portraits, animal subjects and still lifes.

www.andreenharris.com

www.susanmonty.com

www.harmoneyequineart.co

www.jonellemccoy.com

www.mariadangelo.com

www.allifarkas.com

www.animalartandphotography.com

http://sues-art.com

www.internationalequineartists.com

www.michellehogan.ca

www.equineartist.com

www.horseartist.com

www.nchristy.com

www.moosepantsstudio.com

www.mindycolton.com www.internationalequineartists.com

International Equine Artists International Museum of Fine Art El Paso, Texas August 4th through September 28th Artist: Sue Kroll

http://www.internationalequineartists.com/thehorsespiritartsoul.html

66 | VL Magazine - VisualLanguageMagazine.com

http://www.internationalequineartists.com/thehorsespiritartsoul.html VisualLanguageMagazine.com - VL Magazine | 67

Jonelle T McCoy . Judith A Johnson . Mindy Colton . Kenna AlSayed

IEA International Museum of Fine Art El Paso, Texas

http://www.internationalequineartists.com/thehorsespiritartsoul.html August 4th through September 28th 68 | VL Magazine - VisualLanguageMagazine.com

Susan Monty . Bonnie Hamlin . Carole Andreen Harris . Patricia A Griffin http://www.internationalequineartists.com/thehorsespiritartsoul.html VisualLanguageMagazine.com - VL Magazine | 69

VL Nancy Christy-Moore . Carol Walker . Debbie Thomas

IEA International Museum of Fine Art El Paso, Texas August 4th through September 28th

http://www.internationalequineartists.com/thehorsespiritartsoul.html 70 | VL Magazine - VisualLanguageMagazine.com

Helen Baily . Carole Andreen Harris . Deborah Flood

http://www.internationalequineartists.com/thehorsespiritartsoul.html VisualLanguageMagazine.com - VL Magazine | 71

Yvonne Kitchen . Thomas Allen Pauly . Kenna AlSayed

IEA International Museum of Fine Art El Paso, Texas August 4th through September 28th

http://www.internationalequineartists.com/thehorsespiritartsoul.html 72 | VL Magazine - VisualLanguageMagazine.com

Patricia A Griffin . Debbie Thomas . Laurie Pace

http://www.internationalequineartists.com/thehorsespiritartsoul.html VisualLanguageMagazine.com - VL Magazine | 73

Connie Dines

“Coming in for Breakfast”

Artful Exposures One Frame At A Time

www.artfulexposures.com

VL Aspen Ironworks

www.AspenIronworks.com 76 | VL Magazine - VisualLanguageMagazine.com

VL Milton Wagner Aspen Ironworks Master Craftsman

www.AspenIronworks.com VisualLanguageMagazine.com - VL Magazine | 77

Studio Visit MiltonWagner

The crisp smell of aspen trees have always reminded me of the Colorado high country cowboy life. I was born and bred in a small mountain town in southwest Colorado. The only thing I ever wanted to do was be a cowboy. My mother had a picture of a three year old me with a rope in my hand chasing after a chicken. From chickens, I moved on to dogs, calves and occasionally my sister. I was lucky enough to come from a farming family tree with the occasional cowboy branch. I grew up on stories told to me by my two favorite cowboy heroes - my great uncle Clem & uncle Henry. Other cowboys I idolized were John Wayne, Louis L’Amour, Tom Mix and the boys from the Ponderosa. I’ve often been asked why cowboys are my idols and I guess it really boils down to what a cowboy stands for. The cowboys I was lucky enough to know were loyal, honest and hardworking. When I was in high school, I divided my time between metal shop and cow punching for local ranchers. Whenever the ranches needed equipment fixed, I was the goto person because of my metal-working background. I learned early on how to use my imagination to envision metal as a great medium. When I was eighteen, I broke my first horse. That horse was my best friend and partner in crime for the next 36 years. Right after high school, I met my lovely wife. While we raised our three children, I worked as an iron worker for money and moonlighted as a cowboy for fun. In my spare time, I’d gather leftover metal, wood and horseshoes for future art projects . I started Aspen Ironworks, an eco-friendly metal art studio 15 years ago because I wanted to work for myself & focus more on my art pieces. I work in two main areas - a studio/workshop on the back of my property and under a large oak tree overlooking the horses.

78 | VL Magazine - VisualLanguageMagazine.com

I use the oak tree forge when the weather is too nice to stay indoors. I use a handmade forge, several pairs of tongs handed down from my grandfather to father and then to me, and two anvils - a 200 pound workshop anvil and an 80 pound vintage farrier anvil which I can transport if I need to. I started out with individuals cowboys made from leftover rebar and quickly graduated to western scenes. I thought about what does a cowboy do? A cowboy’s life is simple. Cowboys rope, they ride, and they drink. My western pieces reflect this lifestyle. I do bar scenes, I do rodeo scenes and I do cattle drive scenes. I feel my work is unique for three main reasons. First, my cowboy knowledge is authentic. It’s important to me that the story I tell is the right one. I’ve been in these situations I craft out of metal. I’ve been bucked off a bronco and know which part of the cowboy is last to touch the horse. I’ve roped cows and know the correct angle of the rope loop. My cowboys hold it at the right angle for roping a cow on the first try. I’ve been on top of the mountain when it’s cold and freezing and the only thing you want is a cup of coffee around the campfire. Secondly, I believe in doing lifetime work. I’m putting my name on each of these pieces & I want the people who buy my art to have something that will last them for generations to come. There are metal workers out there who just tack their pieces together and that irritates me. If you’re going to do a true work of art, you need to craft it right Thirdly, I believe in leaving a better world for my children and grandchildren than I had which is why 95% of the materials I use are recycled, reused, or eco-friendly. I gather used horseshoes from my farrier friends & old metal bits from local farmers and scrap metal shops. I even have a page on my website for local residents to schedule scrap metal pickups.

www.AspenIronworks.com VisualLanguageMagazine.com - VL Magazine | 79

VL Studio Visit Milton Wagner

Every piece of my art has a unique story. For example, each mirror used on my bar scenes is a rearview mirror from a scrapped car or truck. My chuck wagon base is the bottom of an old broken rototiller. Recently I created a steampunk bug with ball bearings I had received when we replaced a steel ball mill in a gold mine. The ball bearings start out 8 inches in diameter and they roll around and crush up ore to extract the gold. By the time I got them, they had been worn down to about an inch across. I saw those and thought they would make great eyes. I’m really excited about a trio art piece I’m working on right now. I’ve got a cattle drive scene. I’ve got a chuck wagon, and I’m in the process of designing the camp-

www.AspenIronworks.com 80 | VL Magazine - VisualLanguageMagazine.com

fire scene. After driving the cattle all day, there’s nothing more a cowboy wants than to take a load off and grab a cup of coffee around fire. I’ve already decided how to make the fire. I have some discarded copper plating which I will melt down and then beat back up into flames. Even though I’m retired from day to day ranching, I still get to play cowboy occasionally. Twice a year I head to Colorado. I help drive my son’s high-altitude grass-fed cattle up onto their mountain grazing lands in the spring and back down in the fall. Driving the cattle among the aspen trees inspires this old cowboy to come home and preserve that vanishing way of life through lasting sculptures.

www.AspenIronworks.com VisualLanguageMagazine.com - VL Magazine | 81

Studio Visit

Aspen Ironworks

www.AspenIronworks.com 82 | VL Magazine - VisualLanguageMagazine.com

â&#x20AC;&#x153;He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.â&#x20AC;? Francis of Assisi

www.AspenIronworks.com VisualLanguageMagazine.com - VL Magazine | 83

Joanna Zeller Quentin

“Wild” Oil on Board 16 x 20

“Only the Lonely” 18 x 24 Graphite on Bristol

“Waiting Room” 11 x 14 Gouache on Aquaboard

Left Page: “Lipizzaner” Oil on Board 16 x 20

MoosePantsStudio.com

Mary Jo Zorad contemporary fine art

ZoradArt.com

Trouble Maker Found

http://www.artbyjwburke.com/

J W BURKE The Lonesome Crowded West

A Horse Named Wish

Studio Visit JW Burke The Lonesome Crowded West

Some artists say they feel compelled to create, as if a voice inside is driving them in their craft. But for J.W. Burke, art was all about getting the voices to stop. In 1988, Burke was eighteen years old, living in Carmel, California and working maintenance for a wealthy businessman. “I spent my days off roaming the streets,” he recalls, “partly chasing girls, and partly admiring the many incredible galleries.” But his wideopen future would come crashing down at the hands of a group of his peers. “As a cruel prank, they poisoned me with a massive LSD overdose,” he says. The drugging caused him to suffer severe constant delusions, including both audio and visual hallucinations, and to harbor paranoid thoughts. “These mimicked the symptoms of paranoid schizophrenia. I was unable to maintain my sanity.” For years, Burke lived either on the streets, where he got in trouble with the law, or in mental health hospitals, where he struggled to regain his faculties. “I lived filthy and homeless,” he says, “begging for change and sleeping in a box. My delusions over the years had convinced me that I was somehow being controlled by, or tortured by, manmade voices.” The sounds emanating from public television or radio were a source of agonizing torment for him. “In September of 1997,” he recalls, “my delusions drove me to commit two acts of robbery, both without bloodshed. I remember clearly how, upon my arrest, as soon as I was handcuffed and placed in the police car, my delusions stopped—dead quiet. No voices, no hallucinations, no disorientation… just the sound of the car and the static of the police radio.” But the sudden silencing of a decade’s worth of noise didn’t mean everything was fixed, or that Burke was whole and healthy again. “The task of rebuilding my sanity lay before me while I awoke to the fact that I faced spending the remainder of my life in prison,” he says. Fortunately, he had a tool for that rebuilding. “When I was eleven,” Burke remembers, “my mother bought me a sketchpad and charcoal pencils, say-

http://www.artbyjwburke.com/

90 | VL Magazine - VisualLanguageMagazine.com

by Dave Justus

ing, ‘Here, I think you are going to be an artist.’” He had balked, and had grown up believing that art was beyond his capabilities. But in prison, with time and determination on his side, he took up his materials and started to create. “I began drawing in my cell to help stabilize, exercise, and restructure my mind against relapse,” he says. “Soon I asked myself, ‘What can you do to save yourself? What are your options?’” Feeling that the prison system gave him few ways to succeed, he faced down his lengthy term and made his decision. “To become an artist or a writer would allow me two ways to strengthen my mind. One, to teach myself a career that could lead to financial independence, and two, to obtain possible assistance in regaining my freedom.” Frustrated by the lengthy waiting list and selection process for the prison’s “Craft Shop,” where inmates have the opportunity to earn an income for their families or themselves when they get out, Burke has found what solace he can in his situation. “In my drawing lessons over the years,” he says, “I slowly found that any moment I wasn’t drawing was time wasted. My work improved, and I learned that once I understood how to achieve accuracy in drawing, I could create anything, which meant all sorts of excitement and pride of achievement.” Now, Burke estimates, “I work at drawing ten to fourteen hours a day, seven days per week. While I create artwork on a variety of subject matter, I especially enjoy creating extremely detailed Westerns depicting ranch scenes, rodeo, or Old West themes.” Perhaps not surprisingly for a man confined, Burke speaks eloquently on the evocative, escapist qualities of art. “I usually work in graphite or colored pencil,” he notes. “The black and white of graphite has the ability to transcend time, as well as create realistic textures that work well together with the detail to make you almost smell the leather, feel the heat of the day, or hear the pounding of hooves.” Right Page: Bandit

http://www.artbyjwburke.com/

VisualLanguageMagazine.com - VL Magazine | 91

Studio Visit J W Burke

http://www.artbyjwburke.com/ 92 | VL Magazine - VisualLanguageMagazine.com

Right Page: Buck Left Page: Cougar

http://www.artbyjwburke.com/ VisualLanguageMagazine.com - VL Magazine | 93

Studio Visit J W Burke

94 | VL Magazine - VisualLanguageMagazine.com

Right Page: Steer Wrestling Left Page: Will Rides a â&#x20AC;&#x2DC;94

http://www.artbyjwburke.com/ VisualLanguageMagazine.com - VL Magazine | 95

Studio Visit J W Burke

http://www.artbyjwburke.com/ 96 | VL Magazine - VisualLanguageMagazine.com

Burke feels that his Western art, more than other subjects, allows him to include a captivating level of detail that not only interests viewers, but “evokes emotions in the form of pride— deep pride earned from hard work, calluses, and lives well lived,” he says. “If you can make someone proud of themselves by what you have created, then you have created something more than art, something you can be proud of. This is the greatest payoff for an artist.” Though his portfolio covers a large number of subjects rendered in a variety of media, these Western graphite illustrations remain Burke’s favorites, the pieces that readily evoke that sense of pride. If Burke’s future is uncertain, his sense of purpose has not faltered. “My hopes are to create works of art of a quality worthy of being collected by an appreciative audience, and to earn a living through my art,” he says. “Regardless of what happens, I will continue to grow as an artist, and creating art will remain part of my life’s passion.” Very recently, Burke’s long-lost son was located. Now, in addition to saving for his own freedom someday, the artist has taken the long view of helping to put his child through college and saving for any future grandchildren. With this in mind, he advises that anyone wishing to support his artistic endeavors should feel free to write a favorable letter to the Texas Parole Board. “I’ve always wanted to live my life as a good father and husband,” Burke says, “and hopefully someday, when I pass away, I could do so knowing that I was loved and had loved, and that I had done my best to achieve things to be proud of.” A survey of his work—of the open plains of the Old West, as glimpsed from the cell of a penitent man—shows that he’s well down that trail already.

http://www.artbyjwburke.com/ VisualLanguageMagazine.com - VL Magazine | 97

Ann Hoffpauir “Capturing the West”

Longhorn 11 x 14 Oil

ArtworkbyAnn.com

Inspired Art for the Spirit in You.

“New Horizons”© 30 x 40 acrylic/mixed media

New Horizons

Nancy Christy-Moore nchristy.com

Richard Levine Pastel Painter Landscape and Figurative

"An Artist's Studio, Santa Fe"

www.richardlevine.net

Davis & CO Fine Art

email: artisanrichard@gmail.com

dandcgallery.com

Catherin McMillan

www.animalarthouse.com email: catherin@animalarthouse.com

James Loveless

Art of the Old West Native American Art Portrait Commissions

102 | VL Magazine - VisualLanguageMagazine.com

http://www.jamesloveless.com/

VisualLanguageMagazine.com - VL Magazine | 103

http://www.jamesloveless.com/

Studio Visit James Loveless

Art has been my passion for as long as I can remember. I love people and I have relished drawing and painting the figure since my grade school days. Fortunately, none of those early grammar school portraits are at my website. My purpose is to create images that are beautiful and historical. My focus is to display Christian, family values and reveal the truth by reflecting historical facts. My Bachelor of Fine Art at the Kansas City Art Institute led me to a life as a full-time graphic designer and freelance illustrator for over thirty years. I enjoy the play of light and color in nature and I enjoy telling a good story. I have cherished having several Native Americans pose for me when I am not painting commissioned portraits, or painting plein air. I have been interested in the life of Native Americans because of my ancestry. My grandfather was a cowboy, horse trainer and rancher in Fayetteville, Arkansas. He was married to my grandmother, who was half-Cherokee and half-African American. I remember when I was a little boy. Then, I would ride horseback and sometimes travel to see my grand-

Golden Light 8” X 10” oil on canvas

http://www.jamesloveless.com/western_art_1.html 104 | VL Magazine - VisualLanguageMagazine.com

father in rodeos in Oklahoma and Arkansas; it was an awesome experience. Currently, I am researching the history of the relationship between Native Americans and African Americans in the old west. I have been fortunate to gain the assistance from the Texas Civil War Museum. Their historians assist me in my quest to insure all the artifacts in my paintings are authentic. My goal is to have my paintings auctioned successfully at the Coeur d’ Alene in Reno, Nevada in my lifetime. I am a member of the Oil Painters of America and I work in oil paint because I enjoy the flexibility of oils. I enjoy observing people and I still continue in figure drawing sessions with the live model. I challenge myself to work more efficiently by writing articles and blogs about different oil painting techniques and attending workshops. Some of the painters that have influenced me include; Norman Rockwell, Caravaggio, Howard Terpning and Mian Situ. I hope you enjoy my work!

Rain Dance 22” X 28” oil on canvas Right Page: Old Warrior 8” X 10” oil on board

Old Warrior 8” X 10” oil on board

http://www.jamesloveless.com/

VisualLanguageMagazine.com - VL Magazine | 105

Studio Visit James Loveless

American Legacy 8” X 10” oil on canvas

http://www.jamesloveless.com/western_art_1.html 106 | VL Magazine - VisualLanguageMagazine.com

Rain Dance 22” X 28” oil on canvas

Eagle Wolf 22" X 28" oil on canvas

http://www.jamesloveless.com/western_art_1.html VisualLanguageMagazine.com - VL Magazine | 107

Studio Visit James Loveless

Search Party 24” X 30” oil on canvas

http://www.jamesloveless.com/western_art_1.html 108 | VL Magazine - VisualLanguageMagazine.com

Story Time 30” X 30” oil on canvas

http://www.jamesloveless.com/western_art_1.html VisualLanguageMagazine.com - VL Magazine | 109

Studio Visit Barbara J. Mason

Secrets Carnevale, also known as Carnival or Mardi Gras, is celebrated in Italy and many places around the world 40 days before Easter, a final party before Ash Wednesday and the restrictions of Lent. The Venice Carnival is now world famous - Being a pre-Lent festival, means ‘farewell to meat’ and is celebrated throughout Italy. It was first held in Venice, it was revived in 1979 . With great success it is now a open air festival where people parade around Venice and St Marcos Square and don masks and costumes,. These pastel paintings are just a few of my favorite memories of the costumes of Venice, FranceCarnivale 2014. “Secrets” - Pastel Painting was accepted into the 2014 Pastel Society of America 42nd Annual Exhibition: Enduring Brilliance Exhibition. The Jury selected 180 finalist from a field of 1,222 submissions. The exhibit will run from September 2, - September 27, 2014 at the National Arts Club in New York, NY. “Timeless” - Pastel Painting was accepted into - IGOR 9th Annual International Juried Exhibition. The jury selected 74 paintings and drawings from 350 submissions. The exhibit will run November 7November 28, 2014 at the Robert Lange Studios in Charleston, SC.

www.dragonflystudiocreations.com 110 | VL Magazine - VisualLanguageMagazine.com

Desire

Timeless www.dragonflystudiocreations.com

Carol Jo Smidt

www.caroljosmidt.com

Swamp Queen 7 x 14 Oil

www.caroljosmidt.com

www.caroljosmidt.com VisualLanguageMagazine.com - VL Magazine | 113

Studio Visit Carol Jo Smidt

My fascination with the beauty and grace of horses greatly influenced my artistic path. Drawing horses as a 4 year old is my first recollection of my passion for art. My bedroom walls were covered with my pencil drawings of my beloved horses. Hours were spent drawing horses and other animals. It was in kindergarten that I realized others would want my art. Dissatisfied with my work, I took a horse drawing and threw it in the trash can. A classmate reached into the trash and took the drawing because he liked it! Even at that young age, I was amazed that people would want my work! After high school, I attended the St. Paul School of Art. Fast-forward with me through marriage, a son, 21 addresses in 26 years during my husband’s Navy career, and a BA in Advertising Design from Iowa State University. We finally settled in an equine community outside of Woodbine, a small town in southeast Georgia. I finally could have my beloved horses on our small farm, but although my passion for art was there it still resided deep within and struggled to come fully alive. After a dozen years as a self-employed graphic designer and periodic dabbling with a paint brush, I learned that my passion for art was to call me back via yet another path. Enrolling in Savannah College of Art and Design and taking a number of graphic design graduate courses, I was finally brought back to my first love. It was on this part of my journey that I realized my need to leave the work and world of graphic design to get back to my first love – the visual arts and my painting! What is my painting world like today? I recently moved from a small loft on the third floor in our house to my new studio, which is the entire first floor of our house. I set myself on a fairly structured schedule, and I focus on some aspect of my new artist’s life on Monday through Friday, 9 to 5. Many mornings are spent with

www.caroljosmidt.com 114 | VL Magazine - VisualLanguageMagazine.com

paperwork and research. Without a schedule, my painting time would vanish, and I would have a lot of blank canvas! My work is best done with some breaks. I take small vacations, but after a few days, I hear the call of my paints, brushes, and canvases, and I eagerly get back to my easel and pour myself into my paintings. For me, painting is like working on a puzzle, without the picture on the box to guide me. Most times the answers do not come particularly fast. But by experimenting, nudging here and there, my ideas begin to take form and a new painting comes to life. I normally paint by adding layers over layers. When the paint becomes too wet or my eyes too fatigued by looking at the colors being used, I move on to another painting. I have between 4 to 12 paintings in different stages of completion. I’ve heard it said that there is “beauty in the everyday”. I agree. I enjoy painting ordinary subjects with extraordinary colors. My painting subjects are usually animals, but I like the challenge of painting other subjects. Through my painting experiences, I have branched out by creating landscapes, still life, and figurative art. Wanting to expand beyond oils, I started painting with pastels and gouache. I have grown to love these two new media. Changing my media and changing the size of canvases from ultra-mini to very large helps me move into a new creative arena. Not wanting to become too comfortable with my art, I strive to continue to learn by trying anything new; subjects, color combinations, techniques, and media. Knowing that you need to discover by doing, I have learned that my “best teacher is my canvas”. I have come to believe that “to learn is to paint” and “to paint is to learn”.

My Hero 8 x 10 Oil

www.caroljosmidt.com

VisualLanguageMagazine.com - VL Magazine | 115

Studio Visit Carol Jo Smidt

Participating in regional art shows and festivals is one of the ways that I promote my art and to develop relationships with collectors and potential collectors. I belong to a number of local and national art organizations. Painting is a solitary pursuit, and I can easily become a hermit. In addition to getting out of my painting world, it is necessary to have the support from other artists. My contacts with other artists become great learning tools to see their art up close and personal and to get to know the artist behind the painting. For me, the journey of a painting is part ability, part

A White Horse 9 x 12 Oil

www.caroljosmidt.com 116 | VL Magazine - VisualLanguageMagazine.com

technique, part intuition, part sweat, and hours of learning from past paintings. The reward and joy of this journey is the painting process and continues to the person who emotionally connects to one of my paintings. Pet paintings of animals that have passed have provided me with some of my most powerful emotional connections. One owner of a loving pet, Savannah, who recently passed shared this: â&#x20AC;&#x153;my sister and brother-in-law had this painting done for us (by me) and it captures her just perfectly!â&#x20AC;? This is one of the big reasons I paint! carol@caroljosmidt.com

Dances with Trees 30 x 30 Oil

www.caroljosmidt.com

VisualLanguageMagazine.com - VL Magazine | 117

Studio Visit Carol Jo Smidt

A Pale Horse 9 x 12 Oil

Gus 11 x 14 Oil www.caroljosmidt.com

118 | VL Magazine - VisualLanguageMagazine.com

Leopard Waiting 24 x 36 Oil

Elk 8 x 10 Pastel www.caroljosmidt.com

VisualLanguageMagazine.com - VL Magazine | 119

Studio Visit Carol Jo Smidt

Trio 8 x 10 Oil

www.caroljosmidt.com 120 | VL Magazine - VisualLanguageMagazine.com

Stallions Running 11 x 17 Oil

www.caroljosmidt.com VisualLanguageMagazine.com - VL Magazine | 121

122 | VL Magazine - VisualLanguageMagazine.com

Why in a modern and prosperous America are so many living artists ignored? Barry W Scharf

VisualLanguageMagazine.com - VL Magazine | 123

Barry W. Scharf

Why in a modern and prosperous America are so many living artists ignored? By Barry W. Scharf Is it just me or have you noticed that our modern culture does not provide much for living hard working artists in the contemporary or classical visual arts? There are no living Picasso’s, no Leonardo’s, if you are not a dead painter or already famous for something else you are of little or no importance to this culture. When the paintings of many dead artists like Picasso and Van Gough are breaking all records selling at auction for multi-millions of dollars, struggling living artists have a hard time even showing their work. Any sales are far and few between with much of that money going to promotion, material expenses and overhead. In today’s world “artists” are no longer fine art painters or sculptors skillfully working for years in the solitude of their studios to perfect techniques and vision; instead they are showmen, entertainers, socialites or merely personalities that have become known for becoming known. The art of this culture has less to do with talent then with being seen in the right places at the right time. It is now a here today gone tomorrow (leaving little trace of any contribution to the history of art) America. American culture is now catering to the generation of the immediate fix. It is a here today gone tomorrow web tweeting culture that has boiled down everything of value into 140 characters or a Facebook photo of what they are having for dinner. It seems there is less and less time for the subtle colors of a morning mist falling across a meadow, or the complexity of brush strokes that make up a sunset envisioned to awaken wonder about life, mindfulness and spirituality.

http://barrywscharf.squarespace.com/

124 | VL Magazine - VisualLanguageMagazine.com

As long as our institutions of culture, community and government ignore the work of living talented fine artists there will be no growth in the world of art as we have seen for the past centuries. It will be the era of the first person shooter, web jewels and bubbles games and an endless stream of personal videos describing meaningless content of what their cat is doing. Digital graphics and animation now holds the hope as a medium of this new generation. After all there is money to be made here. There are cyber war games taking place in the web ether and we all need to team up to play and be a part of the battle for available creative jobs and available dollars. Don’t get me wrong this is not a critique of the artist, there are still amazing artists out there working hard to create new visions and directions. They are passionate, dedicated, studied and skilled. They work relentlessly without feedback or reward. They are the keepers of the torch of artistic know how and they are ready and waiting for the world to wake from the opiate of digital newness.

Heart Taco by Barry W Scharf

http://barrywscharf.squarespace.com/

VisualLanguageMagazine.com - VL Magazine | 125

Barry W. Scharf

The issue is more or less that so few in a position to support the arts even care to do so. Our current society has not found education in the arts to be a valuable asset resulting in a lack of artistic knowledge that has led to fewer investors and collectors in the art world who are willing to buy the works of new talent. This is clearly evidenced by so many show venues and galleries across America closing their doors due to lack of sales or interest. I am left wondering if society no longer needs the traditional or classically trained artist? Would they even be missed? The good news is that left to their own devices artists will struggle on regardless of recognition or sales, with or without social support. They will create because they must... They are driven... because they know this is their calling and there is nothing else they do better. It is not that we should lament the death of painting, as we have known it for the past several centuries but rather the death of the collector, the visionary with the courage to embrace and support the yet unknown artist

http://barrywscharf.squarespace.com/

126 | VL Magazine - VisualLanguageMagazine.com

Birds by Barry W Scharf http://barrywscharf.squarespace.com/

VisualLanguageMagazine.com - VL Magazine | 127

Laurie Justus Pace

15 x 30 Oil on Canvas

LauriePace.com

Florida Sunrise

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

kwoodfineart.com

Kyle Wood

kylewoodfineart.blogspot.com 130 | VL Magazine - VisualLanguageMagazine.com

kwoodfineart.com

"Beyond The Gate II" 18" x 24" Oil on Canvas

Helen Buck Color . Shape . Composition

White Lotus with Vermillion 36” x 36” Acrylic on Canvas

HelenBuckStudio.com

Helen Buck creates two and three dimensional images as a working artist in Austin, Texas. She completed her studio art studies at the University of Cincinnati, opening her first professional art studio at the Pendleton in Cincinnati. Galleries in Texas and Ohio represent her work.

White Rose on Teal 36â&#x20AC;? x 36â&#x20AC;? Acrylic on Canvas

HelenBuckStudio.com

ARTSPAN Artist Spotlight

Artspan Spotlight Jan Sasser

When did you realize you loved art and wanted to be an artist? I can’t recall a time when I wasn’t aware I loved art. Books, music, and visual arts were all valued in my family. As a child, I loved to draw and was inspired by the sketching of an older sister as well as my great uncle’s amateur painting and sculpting. When I asked for quality drawing supplies they were given, along with the imperative to treat them with respect and practice basic skills first. However, family role models made their living in “more practical ways”. I didn’t conceive of art as a career choice until much later in life. I flirted with the idea of applied art as a young adult, but didn’t actually make the move to painting full time til pushing 50, after many years as a social worker. By that time, the backing and support of an exceptional spouse made the risk more feasible. Who has been your mentor, or greatest influence to date? I wouldn’t say I’ve had a mentor per se, though living in Charleston, I’ve had the luxury of example and interaction with many fine artists. While few are traditional realists like myself, there is always something to learn from one’s masterful use of color or another’s exceptional composition skills. The generosity of successful artists with technical tips and career advice often amazes me. I’m grateful to Rick Reinert and others who have nurtured my confidence along the way and “nudged” me at key moments to shoot for a high profile show or opportunity that paid off. Who is another living artist you admire and why? One of several who come immediately to mind is Mary Whyte, a Charleston watercolor artist of international renown. I’ve long admired her mastery of watercolor but did not recognize how exceptional she is until seeing a major body of her work recently in her “Working South” exhibition. Each piece is an evocative gem of dynamic composition, rich color and texture, and masterfully rendered images that express the character and personality of each worker and workplace environment. Pieces are all part of a totally coherent and integrated concept. It’s as though she “wrote a book in pictures” that tells the tale of a disappearing way of life and makes you feel you know all the characters. How can you fail to admire an artist who can do that? What is your favorite surface to create work on or to work with? Describe it if you make it yourself. I paint on prestretched primed canvas or linen. As a slow painter, I find these far too satisfying to be tempted to invest time in making or preparing my own. I love the “spring” of canvas against my touch. A good even medium tooth weave interacts beautifully with my brushes and varying strokes to create textural illusions while still being “flat” enough to allow precise lines and details when needed. What are your favorite materials to use? Simply, professional grade Winsor Newton Oils, odorless mineral spirits for solvent, and refined linseed oil as a medium. For brushes I like hog bristle for underpainting and certain textures. I like soft red sables for details, clouds, blending edges, etc. What are your inspirations for your work? I doubt you’ll be surprised when I say nature is my inspiration. Nature has always been a source of joy and renewal for me, where I am the most at peace. My husband and I love to walk, visit local rookeries and gardens, and travel to scenic areas when we get the chance. I’m always moved to share what I experience in my paintings.

134 | VL Magazine - VisualLanguageMagazine.com

Blackwater Mirror

http://www.jansasser.com VisualLanguageMagazine.com - VL Magazine | 135

Artspan Spotlight Jan Sasser

ARTSPAN Artist Spotlight

Foraging Ibis

http://www.jansasser.com 136 | VL Magazine - VisualLanguageMagazine.com

Local Beauty

http://www.jansasser.com VisualLanguageMagazine.com - VL Magazine | 137

Artspan Spotlight Jan Sasser

ARTSPAN Artist Spotlight

Nest in the Branches Right Page: Left - Top: Together; Bottom: In His Prime Right - Top: New Arrival; Bottom: Ruffled Feathers

http://www.jansasser.com 138 | VL Magazine - VisualLanguageMagazine.com

http://www.jansasser.com VisualLanguageMagazine.com - VL Magazine | 139

Artspan Spotlight Jan Sasser

ARTSPAN Artist Spotlight

In Her Care

http://www.jansasser.com 140 | VL Magazine - VisualLanguageMagazine.com

Morning Flight

Fine Day at Donnelley

http://www.jansasser.com VisualLanguageMagazine.com - VL Magazine | 141

ARTSPAN Artist Spotlight

Artspan Spotlight Jan Sasser

Getting to know you Q&A What is your favorite color in your closet? It’s tough for me to choose a single favorite in almost anything. My mind doesn’t work that way. There is a wine purple I am partial to, but also a teal, and a rich royal blue. I tend to wear solids with black or blue pants. What book are you reading this week? Right now, visual vertigo makes reading tough. Recently, I enjoyed “Wild” by Cheryl Strayed. It’s a memoir that reads more like a novel about a young woman’s experiences hiking the the Pacific Rim Trail alone. A very compelling read. Do you have a favorite television show? No, but a few I like are The Newsroom, Fargo, Homeland, and almost any period piece that is well written with well developed characters such as Larkrise to Candleford. What is your favorite food? Ugh, favorites again! How can you possibly choose just one? Fortunately, I like a lot of the foods I’m able to eat - grains, beans, green veges, fresh fruit, lean seafoods, and white meats. But, OH how I miss rich cheeses, buttery baked goods, and applewood smoked bacon! What are you most proud of in your life? Artistically, simply that I’m still here, still painting, still showing up for shows and obligations with whatever small collection I can manage. Due to health problems and family roles it would have been very easy in recent years to give up and go back to hobby painting. In the past decade I have seen so many artists come and go, often those with real promise. It’s easy to become discouraged by a tough marketplace or be forced by circumstances to stop and put your time somewhere else. To be a working artist is to be a small business owner in difficult industry and most small businesses fail. Who would you love to interview? Possibly Da Vinci. There’s been so much hype and speculation around his life and work. It would be fascinating to the compare the publicly embellished persona to the real man. I’d love to hear him share the realities of his ideas and studio, to hear his reaction to art trends that came after him, and to explore his views on current controversies over the integration of technology in the artistic process. Do you have a passion or hobby other than painting? What is it? I love almost any quiet activity outdoors that lets me “soak in” the sights, sounds, smells, and feel of nature - hiking, birdwatching, photographing, gardening, crabbing and shrimping, sitting on the beach, etc. Share something with us that few people know about you. I met “the man of my dreams” at a birthday party for Mick Jagger (who didn’t show.) As an ex-mental health worker, I was pretty cautious. I had him pick me up at my sister’s house for our first date and I didn’t tell him where I lived til I was pretty confident I wanted him to know. Turned out we lived 2 blocks apart. We’ve been married for 25 years.

http://www.jansasser.com 142 | VL Magazine - VisualLanguageMagazine.com

Poised to Strike

http://www.jansasser.com VisualLanguageMagazine.com - VL Magazine | 143

Kimberly Conrad “Pouring Color Into Your Life”

CoastalLivingArt.com Days of Summer 36”x48”x1.5” Poured Acrylic on Canvas

CoastalLivingArt.com

Leslie Gifford

The Earring Oil on Canvas 36 x 18

Conjuring Oil on Canvas 48 x 24

www.lesliegifford.com

CFAI.co Artist Showdown

CFAI.co Artist Showdown April 2014 - Equine and Western Art