Art // Summer 2016

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vail valley gallery guide summer 2016

Bates Wilson Thunderbird original reclaimed material surfboard sculpture, 108”L x 24”W x 16”D, 2016

Vail International Gallery 970.476.2525 100 e. meadow drive #17 vail village


for your floor Have floor-to-ceiling art in your home. Stop by our 11,000 sq ft

Serving the Vail Valley since 1972

showroom in Avon and

810 Nottingham Road, Avon

experience rug love.

970-949-5390 •

e d i t o r’s l e t t e r

I – 2 SUMMER 2016

was skimming through my files the other day compiling items for our ARTIFACTS page — a roundup, of sorts, of interesting tidbits relating to fine art we hope you readers will find interesting. Did you know someone at the Museum of Modern Art in New York hung Henri Matisse’s gouache paper-cut “Le Bateau” upside-down in preparation for a 1961 exhibition featuring the French artist’s “last works” — and for 47 days nobody noticed? As reported in the New York Times shortly thereafter, an estimated 116,000 people passed through that very exhibition before a museum visitor with an eye for art and incredible attention to detail sensed something odd, figuring Matisse “would never put the main, more complex motif on the bottom and the lesser motif at the top.” On the visitor’s third pass through the exhibit, having checked a catalog for the correct positioning of “Le Bateau,” she alerted the museum’s staff, and soon enough, a woman in charge of installing pictures at the museum was explaining labels on the back of the work were upside down; that apparently had led to its being hung incorrectly in other places, too, even before its arrival at MoMA. Funny how we all can fall into the trap of taking fine art so seriously we forget the spirit of art itself and the carefree attitude and passion most artists have in creating their works. Of those we feature in this issue of ART, perhaps Vail’s eccentric jewelry master, Dan Telleen, says it best. “Really, I have no plans — it’s always just what I’m working on now, what’s exciting to me now,” he says. Then there’s this observation from painter Quang Ho: “Realism and abstract. It’s all the same to me.” I hope you enjoy this issue of ART, then visit the galleries we feature within. I’ll bet you can discover that same carefree attitude shared by the artists they represent — just keep an eye out for anything upside down.

vail valley gallery guide summer 2016 vail daily magazine group gm Susan Ludlow •

editor Wren Bova •

associate editor Stephen Lloyd Wood •

art director Carly Arnold •

marketing director Mark Bricklin •

ad director Patrick Connolly •

account director Karen Suing •

national sales director Allison Zweig •

contributing writers & photographers Charles Townsend Bessent, Kim Fuller, Justin McCarty, Kimberly Nicoletti, Beth Potter, Gib Singleton, Andy Stonehouse

design team manager

Stephen Lloyd Wood

Afton Pospíšilová

associate editor

design team Amy Hawf, Ashley Detmering, Darin Bliss, Madelyn LyBarger, Malisa Samsel

advertising sales coordinator

on the covers

Chelsea Rosenthal •

account managers Amanda Picola • Paul Abling • Heidi Bricklin • Carole Bukovich •

circulation manager David Hakes •

swif t communications president Bob Brown •

colorado mountain news media gm Jim Morgan •

colorado mountain news media production director Bill Walker •

“MIZUNA AC TION” by Quang Ho Claggett/Rey Gallery, Vail 20” by 20” oil on canvas

“PACHAMAMA - MOTHER E ARTH” by Britten C. Anthony Gallery, Beaver Creek 70” by 70” mixed media on canvas

The Vail Daily is a wholly owned subsidiary of Colorado Mountain News Media | 200 Lindbergh Drive | P.O. Box 1500 Gypsum, Colorado 81637 p. 970.328.6333 f. 970.328.6409 Copyright ©2016 Colorado Mountain News Media. All rights reserved. Reproduction in whole or in part without written permission is strictly prohibited.

Join a community of individuals with a passion for ART Members enjoy access to specialized tours of: • private art collections • museums around the state • artist studios Be invited to signature receptions and much more.

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08 C. ANTHONY GALLERY Featuring Britten


Featuring Alsx Alvis


Featuring Nikolai Timkov

14 GIB SINGLETON GALLERY Featuring Gib Singleton

16 CLAGGETT/REY GALLERY Featuring Quang Ho

18 GALERIE ZÜGER Featuring Andre Desjardins


Featuring Hamilton Aguiar

22 KNOX GALLERIES Featuring Martha & Del Pettigrew

24 KARATS Featuring Dan Telleen


Featuring English and French furniture and accessories

28 ARTIST, TEACHER, MUSE Local ‘art mama’ Joan Norris continues to inspire and inf luence the Vail Valley art scene


Art Walks and Art Pass are back for the summer






– 5 SUMMER 2016



map B E AV E R C R E E K BE AVER CREEK 1. C. Anthony Gallery

Haymeadow Li

Centennial Li

2. Knox Galleries

Riva Bahn

Park Hyatt

Gopher Hill Lift Skier Bridge




3. The Shaggy Ram Ice Rink








Repentance Sculpture

4. Art on a Whim

Strawberry Park Li

Vilar Center

5. Karats

1a 1b







Vail Nature Center

6. Galerie Züger



7. Claggett/Rey Gallery VI LL VAIL VALLEY AGDR E RD

8. Gib Singleton Gallery 9. Masters Gallery


To Avon

10. Vail International Gallery



E D WA R D S Gerald R. Ford Amphitheater

Betty Ford Alpine

The Riverwalk


Edwards Corner






Edwards Village



Vail Parking Stru


Top Level Shopper






Gerald R. Ford





Vail Golf Club


Pirate Ship Park

Vista Bahn Li





Checkpoint Charlie

7 Children’s Fountain BRIDGE ST





– International Bridge

Clock Tower




Solaris Sculptures



Colorado Ski & Snowboard Hall of Fame




5 Information Center




10th Mountain Division Statue


Covered Bridge



Vail Transportation Center

Ice Rink


r Parking

Seibert Circle







Dobson Ice Arena Vail Public Library Lionshead Village Vail Medical Center Altitude Sports Club


C. A N T HON Y GA LLERY 61 avondale lane, market square | beaver creek • 970.845.8645 • featuring Britten

F – 8 SUMMER 2016

or Britten, life and creativity are one in the same. She follows the mysteries of creation — both artistic and human. As a result, her luminosity shines through both her paintings and life. “Light bounces and reflects and creates a path to follow,” she says of her abstract art. Britten begins with handmade alder wood frames stretched with organic cotton canvases; she combines gesso for texture with layers of gold, silver and copper leaf, and follows with French milled oil paint and resin. Through both her paintings and lifestyle, she has committed to being 100-percent true to herself — and the expression she explores within. “The purity of that, the expression of that, is what makes the abstract art deeper and more emotional, because it’s coming from a pure place from myself,” she says. “I tap into that universal space (of) pure creativity — something beyond my personality.” Growing up in San Francisco bathed her in colors and energy, while her studies in Florence, Italy and a degree in fine art instilled technique. After working with graphic design, portraits and murals, she discovered that abstract art conveys “true expression,” a term she applies to her paintings. “It’s a lot freer,” Britten says. “There are no boundaries; it’s a new language, a universal language that goes beyond a surface level we recognize.” And yet, when she stands back and looks at her piece with fresh eyes, after “playing” at the beginning and allowing colors, textures and, most importantly, intuition, to evolve, she inevitably discovers something poignant about herself.

“I recognize emotions and messages,” she says. “I connect the dots. I can see what’s going on with me subconsciously, what I’m trying to teach myself — I see something I’ve never seen before. ... My inspiration is the unknown, the surprise, and that I’m unveiling a mystery.” As a result, viewers reach a deeper place through their own interpretations — “everything from tapping into memories, from laughter to tears,” Britten says. “In some ways, it’s always astonishing for me to hear people’s personal experience and to share emotions. “When someone is present with a piece of art, there’s always the opportunity to be vulnerable and to experience yourself in a new way. Then the painting acts as a mirror, and that is the beauty of abstract art.” The fact that she has found a

way to live in a fully present and aware state every day has led to commissions from large companies in Denver, and even worldwide. Britten is the artist-in-residence at C. Anthony Gallery in Beaver Creek Village. She also will be Vail’s TedX artist in residence at the Vilar Center in Beaver Creek in January 2017. There, she’ll talk about ART — Aesthetic Revolutionary Theory — highlighting the power of art and expression. Britten describes her ability to channel the subconscious and fully live in the moment as an active decision. “I made a choice to look at my life as the ultimate masterpiece and to recognize that this is my purpose in life, and there is nothing else,” she says. “There is just that pure presence and the ability to share it with the world.” — by kimberly nicoletti

– “Pachamama - Mother Earth” by Britten, 70” by 70”, mixed media on canvas

9 SUMMER 2016

“Tramonto - Delicious Moment” by Britten, 70” by 100”, mixed media on canvas

– 10 SUMMER 2016

– “Itchy,” 16” by 15” by 11”; “Relax,” 9” by 20” by 11”; and “Look,” 17” by 11” by 6,” by Alex Alvis, bronze sculptures

“Okaga, The South Wind” by Alex Alvis, 19” by 15” by 8”, bronze sculpture

A R T ON A W HIM GALLERIES 227 bridge street | vail 970.476.4883 • featuring Alex Alvis


olorado artist Alex Alvis imagined her House Horse Series before any of the figures were ever brought to their lyrical forms. At the time she was living in suburbia and taking horseback riding lessons with her husband, Mark. It was from these artistic visions that “Look!,” “Relax!,” “Watch!,” “Leap” and “Step High” were created. Her sculptures incorporate stylized elements, like unusually long legs, which she says is how the horses appeared to her — a characteristic that reflects the vibrancy and untamed form of wild horses. “Look!” was the first horse she imagined. He was upstairs on the landing outside her studio, looking up at Alvis as to say “Look! Here I am! Create me!” “And so, I did,” says Alvis. She says she saw “Relax!” next, sitting in the serene position in which the horse has now been cast. She was resting on top of a piano, enjoying music. All the horses have a story like this — a personality of their own. “There is something about her work that we just fell in love with,” says Art on a Whim Galleries coowner, Ross Raitman, standing next to a collection of Avis’s signature pieces in the Vail Village gallery. “These are a lot more playful than most horse sculptures you usually see — they are not nearly as blocky, or as chunky, and have much smoother lines.” Alvis uses a Japanese paper clay to create her originals. It’s a light and delicate method, allowing her to work with the pieces while they are freestanding or in her hands.

“Yata” by Alex Alvis, 19” by 15” by 8”, bronze sculpture

Once she creates a form, the clay dries, and Alvis carves it like wood. “That’s how she is able to get those insane details in the mane and tail,” Raitman says. Alvis’s sculptures average 20 inches tall, or so, yet their expressive postures and personalities are so life-like it’s tempting to collect them all. Each paper clay original is destroyed in the making of the mold for its bronze edition. Alvis works with a specialized patineur in the Loveland area who creates the vibrant and dynamic color schemes on each horse in the collection. “Like this ‘gold flash’ patina,” Raitman says, pointing out the horse sculpture, named “Yata” — from Alvis’s Lakota Wind Series. “Very few people in the world can make that color.” Yata’s gold veined accents over a gray-purple background almost seem to give the 19-inch-high horse a living pulse that runs through its lengthy body, delicate expression and wind-strewn hair. The Lakota Wind Series includes both “Yata” and “Okaga,” the north wind and the south wind. The native legend of the Lakota inspired Alvis to create the series. She is still working on the east wind, “Yanpa”; ”Eya,” the west

wind, is currently being cast, along with three new “Mini-Mustangs.” Alvis creates wildlife sculpture, in addition to the horses. A new, large bronze sculpture of a mountain lion will be at Art on a Whim Galleries in June or July; and a Sumatran elephant will be making its appearance at the gallery this winter. Alvis and her husband now live on a ranch in the northeastern Front Range of Colorado. Art on a Whim Galleries will be hosting her for a show in their Vail gallery the first weekend of August. “It’s fun to have people selling my work who are so excited about it, too,” she says. “I love that aspect of it. Art on a Whim is one of those galleries that’s just an invaluable part of the equation for an artist like myself.” — kim fuller

– 11 SUMMER 2016

VAIL INTERNATIONAL GALLERY 100 east meadow drive, no. 17 | vail • 970.476.2525 • featuring Nikolai Timkov


– 12 SUMMER 2016

heoretically, Nikolai Timkov wasn’t born at the right time or place to become an internationally renowned artist. Born to a peasant family in the former Soviet Union in 1912, he served on the front lines during World War II. Yet, the same tenacity that galvanized him and his comrades to defend Leningrad — and even narrowly escape execution — compelled him to become one of the most celebrated Russian painters of the 20th century. He earned a place in art school through the Soviet system of aptitude testing and began formal art training. From there, he committed to developing his art, no matter what it took. He and a friend moved to St. Petersburg to pursue artistic training. Their determination led them to do nearly anything — including camping out in the basement of the Repin Institute, where faculty discovered they were painting — with great talent. As a result, Issak Brodsky, who painted some of the most famous images of Lenin, mentored Timkov. Timkov spent the majority of his career at the Academicheskaya Dacha, between St. Petersburg and Moscow. In this serene setting, Timkov escaped pressures of cities and focused on painting countryside landscapes. “He’s a product of the context in which he was living,” says Marc LeVarn, co-founder of Vail International Gallery. “There’s a particular light, air, atmosphere, and lakes. He was in love with that region, and you see the beauty when you look at it.” Timkov had more than a few obstacles to overcome. The war took a toll on every Russian, and though he depicted buildings, streets and other war locales, his Gouache paintings “don’t have the melodrama of combat scenes,” LeVarn says. Likewise, he didn’t succumb to rendering political propaganda through his art, as was the demand of the time period. Instead, he channeled all of his feelings into landscapes.

“The Road to the Dacha” by Nikolai Timkov, 19” by 28”, oil on canvas

“He expressed (art) within the confines and limits of Soviet political ideology, and he did so naturally,” LeVarn says, adding that Timkov found an innovative way to advance his individual voice as an artist, which was difficult to achieve in Soviet Russia. “The most important thing is how you feel when you look at his art,” LeVarn says. “I think his art has a universal appeal. It’s beautiful in a classical sense, and they are also soulful, deep, naturalistic.” In the late 1950s, political pressures eased, allowing for more experimental artistic styles. Timkov studied European modernism, with its bright colors and decorative elements, and he ultimately fused his rigorous, classical training with modernism. “It’s rare to find someone who adds something new to landscape,” LeVarn says. In 1987, Timkov garnered the coveted title of Honorable Artist of the Russian Federation, solidifying his place among the great artists in Russian history. Critics still classify him as one of the great landscape painters of the 20-century, and American collectors continue to clamor for his work. Timkov was one of the first mid-20 century Russian painters

LeVarn brought into his gallery. “I think he represents the best work produced in the former Soviet Union,” he says. “He connects with people for a number of reasons. Primary, the paintings have a real soul. There’s a grit and a real intensity to the paintings. He feels the connection to what he’s looking at and he’s able to show the beauty. “Part of it is due to the context (of his country). If you had an original thought, you kept it to yourself. He just put everything into his landscapes (and) it just takes your breath away.” Timkov died of a heart attach in 1993, but his spirit endures. Vail International Gallery will feature an exhibit spanning five decades of Timkov’s career — including rare, museum-quality works — this summer through Sept. 15. “Created in a political context unique to his lifetime, Timkov’s paintings are emotionally charged and intensely personal depictions of the Russian landscape,” LeVarn says. “The originality and power of his work are evident in each painting, and when viewed together, make a compelling case for the continued re-evaluation of both Timkov’s oeuvre and mid-20th century Russian painting in general.” — by kimberly nicoletti

– 13 SUMMER 2016

“Winter’s Golden Sun” by Nikolai Timkov, 59” by 81”, oil on canvas

“Brilliant Autumn” by Nikolai Timkov, 9” by 10”, oil on panel

“Spring at the Dacha” by Nikolai Timkov, 8” by 6”, oil on panel

– 14 SUMMER 2016

“Last Call at the Palace” by Gib Singleton, 22” by 23” by 14”, bronze sculpture

GIB SINGLE T ON one willow bridge road, suite cs-5 | vail • 970.476.4851 • featuring Gib Singleton

Editor’s note: This article, entitled “A Love Affair with Bronze,” was written before the author’s death in 2014.

still use for my stuff today. Once you know how to use it, you can do an, I love this stuff. The really elaborate first time I saw a picture of designs, because Donatello’s David, I knew bronze expands I wanted to work with it. It a little bit just has a depth and a luster before it sets, so it that no other medium does, and it fills in all the fine lasts damn near forever, so it can details. And you be appreciated for generations. can also do large Bronze was so important it had pieces, because a whole era of human history lost wax lets you do named after it, and a whole era hollow pours and of art history. You can make big, segmented pours. heavy things out of it — like statues The first lifeand battle axes — or small, subtle size bronzes we know of were things like rings and guitar strings. made by the Greeks. In fact, bronze You can polish it like a mirror, just about disappeared from art which is what warriors did with for a while. It’s a strategic metal, their armor going into battle, or and if you didn’t have access to tin, color it with patinas, or just let it which is pretty rare compared to oxidize naturally. Over the last five copper and iron, you couldn’t make thousand years, it’s been made into it. And then you had to melt down tools, weapons, building materials, whatever you had and recast it. jewelry, musical instruments, That’s why you don’t see a lot of ship fittings and, of course, art. bronze sculptures from Greece Basically, bronze is an alloy of and Rome, unless they come from copper and tin, and sometimes a shipwreck or something. They of other metals. It depends on melted them down for swords or what you want to do with it. A armor or whatever. Even during traditional art bronze is ‘85 3/5’ — the Renaissance, a lot of bronze 85 percent copper and 5 percent was melted down and made into each tin, lead and zinc. But if you cannons. Later, when English and want a sword that will keep an Spanish sea captains were exploring edge, you mix copper, tin and the New World, they were ordered antimony. When I wanted a little to bring back any bronze they found more highlight, I used to go down — along with the silver and gold. to second-hand stores and get old One of the reasons that brass doorknobs and hinges, and Donatello’s second David is so throw them in the furnace, too. amazing — besides being an The “lost-wax” casting method incredible piece of art – is that it was appeared maybe five thousand done in bronze and it wasn’t turned years ago, and it’s the process we into a cannon. Even Michelangelo’s


– 15 bronze David was melted down. Rodin is the guy who really brought back bronze sculpture and launched the Bronze Age of art — after they started making weapons out of steel, so you could actually get bronze. After that, most of the big-time artists — Picasso, Degas, Matisse — at least played with it, along with the guys we all know as sculptors, like Remington, Giacometti and Henry Moore. As an artist, that’s a hell of a tradition to follow in and live up to. You’re making a piece of art that will hopefully still be here hundreds or even thousands of years on. And you’re trying to tell a truth in your work that will ring true to generations of viewers who haven’t even been born. You’re trying to create a piece of art that’s going to make sense to and touch people from different times and cultures, and maybe even different planets. That’s a pretty serious responsibility, and a pretty amazing honor. — gib singleton


CL AGGE T T / R E Y GA LLERY 100 east meadow drive, no. 7 | vail • 970.476.9350 • featuring Quang Ho

A – 16 SUMMER 2016

play of light and shadow draws you into many of Quang Ho’s paintings — the brilliant, watery light in a slot canyon in Arizona or the spotlighted energy of kitchen chefs working in a trendy Denver restaurant. A diffused, glowing light gives Ho’s horse paintings an almost ethereal tone. Lighting on various nudes creates moods playful to introspective. In fact, the use of light and shadow is so important to the artist that he focuses on it in one of three instructional DVDs he sells to students, “Painting the StillLife Using Light and Shadow.” Ho says he finds visual excitement all around him, as well as on the empty canvas. He recently has “gone large,” he says, with at least a dozen huge canvases tacked up at an art studio he built on a parcel of land he owns in Denver. “I’m always going in new directions,” Ho says. “Painting to me is like a musician playing with sound.” It’s that philosophy that has created Ho’s greatest work, says Bill Rey, owner of Claggett/Rey Gallery, in Vail Village. Rey points to Ho’s passion for his painting, and talks about his diversity in subjects. Many artists use photographs to help them with their work, where Ho is all about the traditional inspiration, followed by brush strokes, says Rey, adding he believes Ho to be one of the greatest artists of our time. After years of mastering the technical side, Ho says the work he does now reveals itself to him as he creates it. “I just want to push (my current works) where they want to go,” Ho says. A knot on a tree or the juxtaposition of a few simple shapes and colors can be a catalyst for a new piece.

“Realism and abstract — it’s all the same to me,” Ho says. “The real essence of painting is the dialogue between shapes, tones, colors, textures, edges and line. Everything else follows — including light, form, concepts personal beliefs and inspirations.” Ho also keeps a studio at the Denver Art Students League. His three-day plein air workshop scheduled for Aug. 5-7 in the Betty Ford Alpine Gardens is sold out, Rey says. Ho was born in Vietnam and emigrated to the United States when he was 12 years old. At 16, Ho held his first one-man show at Tomorrow’s Masters Gallery in Denver, a runaway success for a high school sophomore. When Quang’s mother was

killed unexpectedly in a tragic auto accident in 1982, he was left with the responsibility of raising four younger brothers and a sister. The same year, Ho attended the Colorado Institute of Art on a National Scholastics Art Awards scholarship. He studied under Rene Bruhin, whom he credits with developing the foundation for his work. Ho’s clients include: the Adolph Coors Company; Upjohn; Safeway; the Colorado Symphony; and the Chicago Symphony. His illustrations have been featured in the Society of Illustrators Annual Exhibition and the Communication Arts Illustrations Annual and exhibited at the Museum of American Illustrations in Newport, Rhode Island. — beth potter

– 17 SUMMER 2016

“Bear Creek Winter Composition” by Quang Ho, 6’ by 8’, oil on canvas

“Immersion” by Quang Ho, 30” by 48”, oil on panel

“Meyer Lemons” by Quang Ho, 36” by 36”, oil on panel

– 18 SUMMER 2016

“From Inside Out” by Andre Desjardins, 38” by 57”, mixed media on canvas

“Un Monde de Beute” by Andre Desjardin, 42” by 57”, mixed media on canvas

GA LE R IE Z ÜGER 141 e. meadow drive, #208 | vail 970.476.5619 featuring Andre Desjardins


brushstroke can impart so many emotions, and for Andre Desjardins, his paintings celebrate “the right to live, to love, to speak, to make love.” He infuses the essence of life force with each stroke, texture and nuance in his paintings. His pieces attest to the mysteries of life, love and the universe itself. His use of muted and subtle tones create a dreamlike state of the mysticism Desjardins himself channels. Desjardins’ passion for life and longing to illustrate stories of humanity emerged as a college student, earning an art degree in his homeland of Quebec. While he discovered ways to transfer his fascination of telling human stories onto the canvas in college, these days, he devotes his time and energy to translating emotions “into images of timeless beauty and humanity” as self-proclaimed founder of “visual emotionalism” — an expressionistic and humanist style that “fuses the figurative with the abstract” while depicting stories of people he has encountered. Desjardins, in fact, strives more to “touch the soul as it awaits the emotional reaction of the viewer” than to simply impart a story. Only when this occurs does he feel his painting is complete. “Like the conductor of a great symphony,” he explains in his own bio, “Desjardins uses his hands to add both emphasis and nuance to his

“L’éclaicie” by Andre Desjardins, 36” by 52”, mixed media on canvas

works, for each is a representation of humanity energized by the emotions of the artist himself.” Like all soulful work, Desjardins continues to evolve. He fuses the influence of traditional masters, such as Da Vinci, with more abstract works of Jackson Pollock. He intensifies emotions by telling eloquent stories and painting passionate, soulful work onto canvases, with masterful technique. His implementation of crackling further emphasizes the fragility of life, as well as honors the old masters. Desjardins doesn’t focus on finished pieces. In his studio, he believes, taking the time to create, or doing nothing, are equally important. He describes his workshop as a place to “simply breathe in … an incubator of ideas, a place where everything is possible.” His openness to solitude and introspection informs his ability “to reproduce particles of eternity,” he says. Desjardins’ sculptures support his paintings and vice versa. As a result, the subjects of his paintings tend to “break free” from the canvas. “I use brush sometimes, but I prefer to use my hands,” he says. “I sculpt my canvas. I need to be in direct contact with it. I conceive its

roundness. When I paint, in fact, I am preparing to sculpt better.” On the other hand, as he sculpts, he feels as though he’s drawing his subjects. In this way, both disciplines support his reminder of human origins and how “we come from the earth and we will return to it.” Art, for Desjardins, makes him feel immortal, because he views it as a universal and timeless language. He strives to impart lasting pieces as his way to communicate everlasting emotions. Through both sculpture and canvas, his central theme revolves around spirit. “I speak of interior peace, of fulfillment,” he says. “I question the mysteries of life, love and the world in which we live. The serenity with which I infuse my subjects is my way of denouncing the demanding world in which we live, a world that encourages performance at any cost, rampant consumerism, pollution, stress and the over-exposure of violence and human stupidity in the media. “I offer a pause. My artistic work can be considered as a celebration of slowness, of the sweetness of life, of the simple pleasure of being here, alive, of existing.” — by kimberly nicoletti

– 19 SUMMER 2016

M A S T E RS GA LLERY 100 e. meadow drive, suite 27 | vail • 970.477.0600 • featuring Hamilton Aguiar

H – 20 SUMMER 2016

amilton Aguiar grew up in Belo Horizonte, Brazil, a region of eternal spring and summer. His introduction to New York inspired his distinctive artistic vision, which captures the varying shades of landscapes. He garnered attention at his first show in 2004, when his monochromatic, textural style stood out from the majority of bold-colored paintings. A year later, he had created an identity with his trademarked Solitudes. Most of the subjects of his paintings seem simple — tree trunks, evergreens, tonal panels. And yet, his technique, which employs oil over silver or copper leaf, with resin, results in both a stimulating and calming effect. “It’s very simple,” he says of his art. “It speaks for itself.” And yet, all of his work delves deeper. His pieces change with the light, revealing a shining sky or an intriguing shadow. As the eye settles into the monochromatic piece, foregrounds dissolve into warmer or cooler backgrounds and reflections create movement within the two-dimensional work. It’s clear that Aguiar pays attention to not just landscapes, but also shadows, skyscapes and light. “(My paintings) are quiet, very peaceful,” he says. “You won’t get tired of looking at them, every time.” Part of his depth extends beyond the canvas, or panels, and into the human experience itself. “I relate the seasons with life experience,” he says. When he landed in New York in March, 1987, “I saw all the

“Solitude” by Hamilton Aguiar, 57” by 57”, oil over copper leaf with resin on panel

trees dry, with no leaves, and I thought everything was dead,” he says. “Then, spring (came) and it was amazing to see everything come to life.” He contrasts life in Latin America, where people are a little more laid back, and yet everything “is always the same,” to North America, where people prepare themselves for the winter solitude, and then, when spring arrives, they appreciate it, emerging with a lighter, happier attitude. Aguiar has discovered a way to reflect these mutable emotions, and most aptly, appreciation of the changing seasons, in his paintings.

And, in keeping with his everchanging perspectives, about eight years ago he began to sculpt, although he considers his landscape Solitudes his main series. “I like to play with a lot of materials,” he says. His sculptures range from mountain peaks; trees; a 12-foot by 12-foot dog, a spoof on a similar sculpture that sold for millions of dollars; and a huge lion that now “lives” in Dubai. But no matter what shape or tone his art takes, he remains loyal to the narrative of nature, and its budding inspiration. — by kimberly nicoletti

– 21 SUMMER 2016

“Winter Shadows” by Hamilton Aguiar, 60” by 48”, oil over silver leaf with resin on canvas

“Ameri Can Flag II” by Del Pettigrew, 48” x 72” , mixed media

22 SUMMER 2016

“Crossing The Tundra” by Del Pettigrew, 16” by 23” by 11”, bronze sculpture

K NOX GA L L E R IE S 46 avondale lane | beaver creek 970.949-5564 • featuring Martha & Del Pettigrew


fox walked in the front door of Knox Galleries one evening and ran right up to Mark Kihle’s desk while he was working. The fox put his paws up on the desk, Kihle says, as if to say hello, before playing coy and running around the room. The Beaver Creek gallery director says he tried to catch a picture of the fox playing among some of the sculpture animals and other art in the gallery, but all he managed to get was the fox’s tail, before he ran back out the open door. You’re not likely to see a fox in Knox Galleries on a busy summer day, but you can still catch the whimsical playfulness of other sculptures in the gallery right now, especially “Burrito,” a seated, 45-inch-high donkey by Martha Pettigrew. Pettigrew is matter-of-fact about her sculpture subject choices. Her other animal sculptures include a rabbit, “Shima,” and a moose, “Ralph.” There is no “Bullwinkle,” she insists. “I have a sense of humor, and I love animals,” Pettigrew says.

The sculptress also is known internationally for her Native American-themed women and totem pole sculptures. She has shown and sold her work at Knox for 15 years. Pettigrew and husband, Del, met gallery owner Deane Knox all of those years ago while they were doing a street art show in the Vail Valley. Knox invited the two to stop by his gallery, and the rest is history. You see, Del Pettigrew also is a sculptor well-known in the region, mostly for his bear and bird pieces. “Crossing the Tundra,” is a lifelike, grizzly bear on the move, for instance; another piece depicting a mother bear and her two cubs is in the gallery at the moment. Del Pettigrew says his inspiration comes from his time outdoors hunting and fishing. A Wyoming fly-fishing trip once yielded him a glimpse of a bear headed for a fishing hole, for example, he says. “My goal is to do wildlife we experience in the wild,” he says. Del Pettigrew also does equine

“Burrito” by Martha Pettigrew, 45” by 56” by 32”, bronze sculpture

– 23 SUMMER 2016

– “Coastal Spirits Monument” by Martha Pettigrew, 102” by 24” by 23”, bronze sculpture

pieces; he and Martha breed thoroughbred race horses. Right now, Del Pettigrew’s work has taken a new tack — 4-foot-by-6-foot hanging American flags made of red, white and blue beverage cans. Del and Martha have picked up aluminum cans for years while walking their dog in Kearney, Nebraska, where they live, giving Del a prodigious supply to work with, he says. The unique flags will be perfect for the Fourth of July show at the gallery — two others sold quickly at another recent show, he says. He’s now working on an Edgar Degas-themed impressionistic piece made with pop cans, Pettigrew says. The couple will work on unfinished pieces at Knox Galleries, on Beaver Creek Plaza, over the Fourth of July weekend. — beth potter

K A R AT S 122 east meadow drive | vail • 970.476.4760 • featuring Dan Telleen

F – 24 SUMMER 2016

ew creative folks in the Vail Valley have been quite as much of a permanent and successful fixture as jeweler Dan Telleen, dating back to his first business venture in a still-fresh Vail Village of 1970. Karats, Telleen’s “working studio” and jewelry gallery, has greeted skiers and summertime visitors for some 31 years, and the iconic local personality is a regular guest on TV8’s “Good Morning Vail,” not to mention one of the community’s best-known working artists. Given that history and his largerthan-life persona, it’s quite the revelatory experience to spend a few moments in Karats’ relatively simple studio space, where the adobe-styled display cases offer a small selection of Telleen’s current products, as well as jewelry by more than a dozen guest artists — Balibased jeweler Carolyn Tyler and pearl specialist Koji Kowamato getting extra attention this summer.

Naga shell ear ornament tattooed with a human figure, repaired and set with 22-karat gold

And with his clever blending of historic artifacts — coins, arrowheads, minerals, even chunks of real meteorites — and freshly crafted precious metals and stones, Telleen’s pieces offer a distinctly Western flair, something that’s helped him develop a multi-generational group of devoted customers and fans. “Our new inventory really isn’t designed for the runway or yacht season, like European designers do — hopefully our things are more longer-lasting than one season,” he says. Telleen’s real talent is his deft interpretation and extrapolation of his clients’ desires for truly one-ofa-kind pieces that blend their own family jewelry or other keepsakes into new works. Working in consultation with a buyer, Telleen is able to repurpose rings, old gold or other jewelry into all-new works that celebrate those personal stories. Recently, he crafted a deeply emotional piece for a customer, integrating a large Central European coin and a lock of her son’s hair, melded together into a creative and striking memento. Another local client presented Telleen with a compelling list of ingredients: a strand of pearls, with deep sentimental value, but not quite appropriate for her lifestyle, plus an emerald from a trip to Thailand and some old gold, dating back to her childhood. “‘What can we make with it?’ she asked me,” he says. “So, I created something that’s not just the emeralds and pearls, but uses those details for something new. How sweet it is to make stuff with a story, not just for the sake of making things.” Telleen’s personal studio space, located in West Vail, is overflowing

Tahitian pearl and fossil Ammonite set in 18-karat gold on a strand of black diamonds

with boxes filled with precious stones, coins, arrowheads and even cowry shells or figurines used as currency in historic Africa. When inspiration strikes him, he’s able to create an imaginative blend of new and old — using, for instance, broken shells from Nagaland, home to indigenous tribes living between India and Burma, who practiced headhunting until the early 1960s. He’s reconfigured one of those human figure-engraved shells into a gold-edged piece that celebrates the Japanese notion of “Kintsugi,” a repaired object that takes on new life as a reinvented work. “Really, I have no plans — it’s always just what I’m working on now, what’s exciting to me now,” Telleen says. “Natural things just serve as a springboard for my imagination.” — andy stonehouse

Fulgurite, or “frozen lightening,� set in sterling silver and 18-karat gold

Carnival mask in 18-karat gold with an opal hat and silver chain suspended from a child’s fingers

Meteorite earrings set in 18-karat gold

T HE SH AGGY R A M 210 edwards village blvd., a-206 | edwards 970.926.7377 • featuring English and French furniture and accessories


– 26 SUMMER 2016

layers and layers of wax and elbow grease, no two items are alike. Why travel across the globe to find furniture and other home accessories? “Quality workmanship — that’s what I see in most of the country pieces,” says Montgomery. “If it’s painted, it’s typically beautifully done. The woods are beautiful. Getting the patina on these woods comes from years and years of polishing. It’s very hard to get character into new pieces.” Wood is a living, breathing organism. So when it’s tended and polished, nurtured and coaxed, it performs beautifully. One such piece in the store is a French two-piece pear wood vaiselier imbued with lovely sunflower carvings that show it’s from Provence in the South of France. “It is such a special piece because pear wood trees do not get really large and are not as prevalent as other fruitwood trees,” explains

A trio of handmade Santas, approximately 29” high: golfing Santa, raccoon fur Santa and fly fishing Santa.

Montgomery. “So not as many antique pieces like this have survived. This piece dates back to about 1790. The patina is fabulous and just glows.” Other finds at the store include lamps, propeller tables with custom steel bases, brass vessels, kitchenware, sculptures and a delightful selection of Santas. The Santas are a bit of a tradition at The Shaggy Ram, handmade by the same woman for the past 15 years. Whether they’re made from fabric or fur, they are each one-ofa-kind. Though custom versions are available, themed versions such as a golfer Santa and a fly fisherman Santa are hard to resist. — by wren bova

photos by justin mccarty & charles townsend bessent

ackie Montgomery has one basic rule when curating the items that fill her Edwards store, The Shaggy Ram: “I don’t buy anything I don’t want to live with myself,” she says matter of factly. And as it turns out, she has very high standards — and a very good eye. Montgomery focuses on French country fruitwood furniture and English pieces, as well as accessories from France and England. Her annual pilgrimage to Europe nets her the sort of hand-fashioned, unique items that you could look for forever — and when you find it, nothing else will do. Whether it’s a German painted armoire, known as a schrank, dating from 1780, or a fruitwood table rescued from oblivion by

French pear wood two-piece vaiselier with sunflower carvings.

A selection of French copper pieces, including a large ale measure, watering can, kettles, and port and starboard lights from a narrow barge.

– 27 SUMMER 2016

Copper bear with slightly serrated edges made by an 80-year-old English sculptor, 4’ by 8’; French Georgian glazed two-piece cabinet in original French “gray” paint with nice details.

artist, teacher, muse Lo c al ‘ar t mama’ Joa n Nor r is continues to in spire a n d inf luen ce the Vail Valley ar t s cene by beth pot ter

“The Ten Mile Range from Shrine Pass” 18" x 36" oil on canvas, by Joan Norris, 2010.


E A C H E R A N D A R T I S T, A R T I S T A N D T E A C H E R … . Throughout her artistic career, Vail-based painter Joan Norris has hopscotched back and forth between roles — creating vibrant plein air paintings of aspen trees and mountains around her

home, or teaching students at Colorado Mountain College. She has influenced many, and they have influenced her, say those who know her, and says Norris herself.

‘ I N T E R E S T I N G M AT E R I A L’

– 30 SUMMER 2016

Norris has always been particular about barns, but she has gotten very particular about one in Wolcott, lately. She has been watching to see that it hasn’t been torn down yet. But there have been so many others over the years that did get torn down, or ranches that were sold and developed. For years, Norris has been getting permission bring her classes to paint at places such as the Calhoun Ranch in Edwards, once owned by the late artist Buddy Calhoun — places that make for great paintings. “That was terrific — having interesting material such as old barns and old equipment, horses,” Norris says. “I was particularly interested in the old, historic barn, because often they would be torn down after we had painted them.” Norris also has been known for setting up her outdoor classrooms to have students paint the Eagle River Canyon, at Gilman, a stunning but difficult challenge for some. The group would have lunch together, then individuals could have their work critiqued by Norris. In those critiques, Norris says she would help adult artists in the classes “accept who they were and what they could do and move on from there.” She used diplomacy and tact and kept students returning for more.


The teacher learned well from her times as a student, as well. Norris is a founding participant in the Summer Vail Art Workshop at the Antholtz Ranch in 1971, says Randy Milhoan, a fellow painter based in Minturn. The ranch encompassed what is now the Vail golf course and Golden Peak. From 1973 to 1978, the annual event was held in an A-frame structure where the Vail Library now sits, before moving to Maloit Park in Minturn, he says. “Joan has been involved in (the festival) almost all the time, as a student in a lecture or being in an

exhibit,” Milhoan says. “She was always more interested in being a student than in being a teacher.” Artists in town formed the Vail Valley Art Guild, with about 189 people, Milhoan says. Local folks, such as Mark Glenn and Don Sahli, learned from Norris; and none other than the famed glass artist Dale Chihuly came to Vail for summer sessions. Sahli says Norris is one person who reminded him about passion, telling him to laugh “with feeling. Like you mean it.” “Her paintings inspire me, and mine inspire her,” Sahli says. “She’s my angel, my muse.”

‘A R T M A M A’

Norris, now retired from CMC, says her philosophy — to live life to the fullest — is grounded in her original focus on theater. A

Joan Norris in San Miguel de Allende, Mexico, enjoying the well earned gifts of life as a great art grandmama.

drama major in college, she has traveled around the world to Japan, China and other exotic locales. She waxes more philosophical, though, as she reflects on more recent years. After a 50-plus-year career that includes life as a wife, a mother, a grandmother, and a great-grandmother, Norris has a history. She and others call her “art mama” in the Vail Valley, an affectionate term of endearment. A few years ago, Norris was actively participating in the Vail Farmers Market, her daughter coming to help her sell her paintings. That kept her in touch with other artists, and a wide community of buyers, but it got tiring, says Norris, now 80. “I do not have the same energy

that I had when I was younger, and I’m missing that,” she says. “I guess that’s the main problem of being an older artist is that it’s tiring.” If you’ve been around awhile, you may recognize Norris and her partner Jim Lamont as long-time organizers and participants in the annual Red Cliff Studio Tour. She has shown her work in all of the area libraries, and sold to the likes of Ron Wolfe, the former mayor of Avon, and his family.


Norris says her identity as an artist lives on in her visits to San Miguel de Allende, Vail’s sister city in Mexico, and her work, there. In 2015, she showed works in Vail of bright reds and yellows and pinks of Mexico. San Miguel also is an arts community, with a history of appreciating and encouraging the arts, whether it be writers or painters or photographers, as Lamont is. “It reminds me of the early days

in Vail, this community,” Lamont says. “It’s very authentic.” The “art mama” is known well in the Vail Valley from her time at CMC, Lamont says. Everywhere the couple goes, someone at some point will say,

above: Joan Norris, left, discusses painting with a fellow artist during the 1973 Summer Vail Art Workshop in Vail, an event she helped found. below: “Parroquía San Miguel Arcángel” 24” x 24” oil on canvas, by Joan Norris, 2014.

– 31

“Do you remember me? I was your student,” to her, Lamont says. “Many homes you walk into in Vail or around Eagle County and you’ll see a painting of hers on the wall,” Lamont says. “She has been at this over 40 or 50 years.” In San Miguel, Norris says she feels enriched with new people, new ideas, new places and spaces. She takes time to walk and swim and try new food. There’s a different rhythm to the place that shows in her more recent work. “There’s more time to think and to respond here,” Norris says. “There’s often no time to respond, the way we live in the mountain style of life.” Norris says she loves being in an artist community where she can grow and learn from others, whether it’s in Mexico or in Colorado. The artist, and the teacher, still. Norris’s work can be viewed by appointment at the Norris/Lamont Studio/Gallery in Red Cliff, 970-476-3250 or



T H R I V I N G I N VA I L Town’s Art Walks and Art Pass are back for the summer


he free weekly Wednesday Art Walks and tour of Vail Village with the Town of Vail’s Art in Public Places coordinator are underway for the summer. The hour-long tours meet at 11 a.m. on Wednesdays through Aug. 31 at the Vail Village Welcome Center, on the top level of the parking structure. Tours are subject to cancellation.

After an introduction to the Colorado Ski and Snowboard Museum, the tour winds its way through the Village with discussions of the history of the Vail Valley, the founding of Vail Mountain, the master planning of Vail Village and the importance of site-specific art. The town’s public art collection includes more than

45 works, ranging from paintings, sculptures, murals and playground components to site-integrated art. A printed map of the Town of Vail’s public art collection map, available at the Vail Village and Lionshead welcome centers, not only features 36 works of art in a walkable area of Vail Village and Lionshead, but it also

daily file photos

includes the public art beyond the town’s centers. More than 30 works of art in Vail’s collection are created by Colorado artists. Vail Art Pass is back, as well, celebrating a second season after a successful launch last summer. The program gathers a community of individuals with an interest in the visual arts, sponsored by Art in Public Places. Throughout the past year, Vail Art Pass highlights have included tours of renowned private art collections with receptions. Members also took part in a tour of the new Betty Ford Alpine Education Center and Gardens with Executive Director Nicola Ripley; and they were invited to signature events and receptions sponsored by Art in Public Places throughout the year. Events will have limited occupancy and are filled on a firstcome, first-served basis. If space is available, events will be open to the public for a fixed fee per event. Guests must be registered to attend. Visit or contact Art in Public Places coordinator Molly Eppard at 970-479-2344 or meppard@vail to sign up for the annual $50 membership to receive preferential access to events and how to join this group of art enthusiasts, or for more information on the Wednesday Art Walks — art staff report

– 33 SUMMER 2016

“Sunbird Park” in Lionshead Village, by Tres Birds Workshop and Town of Vail Design Team, top left, “Variation in Silver and White,“ on the newly redeveloped Lionshead parking structure, top right, and “10th Mountain Division Memorial,” at the Vail Covered Bridge by Scott Stearman and Victor Issa, above, are just a few of the three dozen artworks on display throughout Vail as part of the town’s Art in Public Places program. photo courtesy art in public places

gallery listings

African manilla money bracelet with 22-karat gold masks, by Dan Telleen, Karats

“Sommelier” by Anton Arkhipov, 30” by 26”, oil on canvas, Masters Gallery

“Aspens On High” by Don DeMott, 28” by 12” by 10”, steel sculpture, Art on a Whim

– 34 SUMMER 2016

“Nature Divine” by Ingrid Dee Magidson, 35” by 22”, mixed media, Galerie Züger AVON THE ART OF THE VALLEY Opened in celebration of Avon’s art-centric redevelopment, this Avon gallery carries Colorado artists who create in a wide array of styles. Head inside and talk art with gallery director — and the man behind Avon’s new murals — Mason Torry. 970.390.2685

BE AVER CREEK BY NATURE GALLERY Museum-quality minerals, fossils, decor items and jewelry. From decorative butterflies to the bones of an ancient wooly mammoth, it’s a diverse collection. 970.949.1805 C. ANTHONY GALLERY Paintings and sculpture in contemporary, impressionistic and classical genres. Elegant and eclectic. 970.845.8645 GRAND BOHEMIAN GALLERY Part of a family of galleries located within the luxury hotels and resorts of The

Kessler Collection, the gallery is eclectic. Oil paintings, glass, wood, contemporary jewelry, bronze sculptures and unique gift items are all found in the space. 970.845.9800 HORTON FINE ART The gallery represents a variety of artists portraying various subjects and styles. Many artists in residence create in the gallery throughout the year. 970.949.1660 J. COTTER GALLERY BEAVER CREEK Contemporary jewelry, sculptures, installations and other art since 1970. Many local artists are represented, including the owner. 970.949.8111 KNOX GALLERIES OF BEAVER CREEK Featuring sculptures and paintings for the home, and monumental bronze sculptures for outdoor placement. 970.949.5564 THE SPORTSMAN’S GALLERY AND PADEREWSKI FINE ART A wide array of sporting, wildlife and Western art. The two galleries are

side by side. Located on the Plaza. 970.949.6036 TONY NEWLIN GALLERY Features nature, landscape and wildlife photographs, including scenes from Yellowstone, Grand Tetons and other U.S. national parks. 970.748.5001

EDWARDS THE SHAGGY RAM Refined selection of French country fruitwood furniture and English pieces, as well as accessories from France and England. Lamps, handmade Santas, copper, sculptures and more. 970.926.7377

VAIL AND LIONSHE AD ALPEN ART & ANTIKS Headed by a second generation antique dealer, the gallery specializes in 19th and early 20th century paintings, furniture and accessories as well as contemporary art. 970.476.3570

“The Pony Express” by Gib Singleton, bronze, Gib Singleton Gallery

“Field Flowers” by Boris Chetkov, 22.25” by 18”, acrylic on panel, Vail International Gallery

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“Rouse” by Britten, 50” by 50”, mixed media, C. Anthony Gallery

ART ON A WHIM Bright and intrepid art in a colorful space, Art on a Whim is a comprehensive gallery with a large stable of emerging and mid-career artists. 970.476.4883 CLAGGETT /REY GALLERY Traditional American art, with subject matter ranging from historical Western and wildlife scenes to the classic European genre. 970.476.9350 COGSWELL GALLERY Specializing in a variety of artwork including oil paintings, bronze sculptures, rugs and more. Located in Vail Village below the Children’s Fountain. 970.476.1769 FORRÉ & CO. FINE ART GALLERY A diverse representation of paintings, glass art and sculpture. Specializing in museumquality works from international artists as well as 19th and 20th-century masterworks. 970.476.0999 GALERIE ZÜGER The painters, sculptors and collage artists represented at Galerie Züger.

All share a freedom of expression. 970.476.5619 GIB SINGLETON GALLERY Master sculptor Gib Singleton’s work is in collections around the globe. The Vail gallery is filled with his Western and Biblical sculptures, which range in size from a few inches to several feet. 970.476.4851 J. COTTER GALLERY VAIL VILLAGE Contemporary jewelry, sculptures, installations and other art since 1970. Many local artists are represented, including the owner. 970.476.3131 K ARATS A working studio gallery of fine art jewelry, accented with selected paintings, sculpture and ceramics. 970.476.4760 LOUGHEED STUDIO AT CLAGGETT/REY Robert Lougheed, a Cowboy Artist of America member, passed away in 1982. The gallery space is exclusively dedicated to him. 970.476.9350

MASTERS GALLERY Featuring contemporary, masters and collectible artists. Frequent receptions with artists present. 100 East Meadow Drive. 970.477.0600 MATT INDEN PHOTOGRAPHY Nature photography that brings the outdoors in, Matt Inden uses a Deardorff 8x10 camera and doesn’t let the bulk and weight of it stop him from extensive hiking with it. 302.893.0703 VAIL FINE ART GALLERY Specializing in museum-quality art, contemporary Impressionism, oil paintings and bronze statues — especially from the Russian Soviet period. 970.476.2900 VAIL INTERNATIONAL GALLERY Featuring art from Colorado and around the really cutting-edge artists, as well as classics. 970.476.2525 VAIL VILLAGE ARTS Captivating wind sculptures outdoors with fine paintings and sculpture inside. 970.476.2070

artifac t s

“Good painters imitate nature, bad ones spew it up.” — m i g u e l d e c e r va n t e s

Vincent Van Gogh produced more than 2,000 works during his life: 900 paintings and 1,100 drawings and sketches. He only sold one painting while he was alive.



In prehistoric times, people used jewelry even before they used clothing.



Salvador Dali once said the idea for his iconic melting clocks came from chunks of Camembert cheese he observed melting in the sun.

Monet’s father disapproved of his painting. He wanted him to be a grocer.



A C H I E V E M E N T.

WA S IN V E N T E D Folk art is also known as




and N A Ï V E A R T.




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2017 JANUARY 26-27,2017

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