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International Voices

VISUAL LANGUAGE August 2012 Volume 1 No. 6

contemporary fine art

Cover Artist Marie Fox

Susan Santiago

Art Challenge June 2012 “Family” Follow us on FACEBOOK Contemporary-Fine-Art-International

August 2012 Vol 1 No 6 ©

Marie Fox Painting is my passion. I’m wild about the act of painting and the subject of the female figure.

Now I paint about strong women. In Greek mythology, women were as powerful as men. They were gods. I like to think, and my collectors seem to, that my painted women are their descendants. Cover Artist

My path to this perfect artistic place was through folk art born of memories of my New England childhood. This art I sold to the White House, Panasonic, Toyota, Bigelow Tea, the Mayor of Boston and to clients of galleries in New York, Boston, Nantucket, Charleston, San Francisco and Los Angeles. My art was featured twice on the Today Show and in two national magazines.

Features this month New Artists

Pages 6-7

Painter’s Keys - Robert Genn Page 9

Art Challenge

Pages 16-21

Best of Show Lesley Humphrey, 1st Place M. Allison

Hall Groat II Art Review Pages 38-39

Featuring Texas Artist Melissa Doron

in Visual Language Colors on My Palette Pages 22-29 Featuring George Ayers and Joe Mancuso

Blog Review Missouri Pages 40-47

Features include Kay Crain, Elizabeth Chapman and Lorrie Boydston. Juried Show Winners Pages 64-67

Best of Show Carolyn McDonald, 1st Place Suzy Pal Powell

Daily Painters

Pages 58-59


Robert Graham

United Kingdom

United States, Texas

Kristine Byars

Russell McCall

Jordan Baker

Judy Gouge

Angeline Payne

Sunny Marler

Janna Hengy

United States, North Carolina

United States, Texas

United States, Texas

United States, Texas

United States, California


Sally Shisler

United States, Florida


Kamela Peart

United States, California

Nancy Bozeman United States, Texas

Susan A Lennon

United States, Maryland

Mary Beth Kreizel

United States, Colorado

June Rollins

United States , North Carolina

Tim Gagnon

United States, Maine

Bebe Ruble

United States, New York

Carolyn McDonald

United States, Alabama

Romi Maegli Bauer

Guatemala Masthead

Visual Language Magazine Sta Editorial Editor -in-Chief Laurie Pace Executive Editor Diane Whitehead Managing Editor Nancy Medina Deputy Editor Debbie Lincoln Feature Editor Art Reviews Hall Groat II Feature Contributor Robert Genn Blog Editor Kimberly Conrad Associate Editor Lisa Kreymborg Advertising Contact Kimberly Conrad Newsletter Editor -in-Chief Diane Whitehead Executive Editor Laurie Pace Managing Editor Kimberly Conrad Deputy Editor Debbie Lincoln Feature Editor Art Reviews Hall Groat II Associate Editor Lisa Kreymborg Feature Contributor Clint Watson FASO Feature Contributor Robert Genn Painter’s Keys Membership Director Kimberly Conrad Associate Director Lisa Kreymborg

Website Web Design Scott Ellis, Quality Assurance Lisa Kreymborg Daily Collectors Feed Lisa Kreymborg Juried Shows Diane Whitehead Art Challenge Laurie Pace Workshops Lisa Kreymborg Colors on My Palette Diane Whitehead In the News Laurie Pace Membership Kimberly Conrad

Marketing and Development Director Laurie Pace Senior Director Diane Whitehead Senior Director Kimberly Conrad Junior Director Lisa Kreymborg

International Blogs Editor Kimberly Conrad Junior Editor Lisa Kreymborg

Board of Directors Kimberly Conrad Laurie Pace, Diane Whitehead Debbie Lincoln, Mary Jo Zorad

Finance Director Andy Whitehead Senior Director Diane Whitehead Junior Director Kimberly Conrad

All Artwork is Copyrighted by the Individual Artists. Visual Language Vol 1 No 6

Painter’s Keys with Robert Genn

Robert Genn’s Studio Book

Dear Artist, Yesterday, Dennis R. of Aspen, Colorado wrote, “I read with interest your letter on why you shouldn’t put dates on paintings. What are your thoughts about catalog numbers on paintings? Assuming an artist uses some sort of sequential system, an astute observer may be able to guesstimate the date. Or is this taking things too far?” Thanks, Dennis. Several times in my life I’ve started cataloguing and failed. I once got as high as 75 before zoningout. If I had to do it all over again I’d have had an early lobotomy and given #1 to my first parent-noted drawing at age four and carried through to this morning’s effort at #23,865 (just guessing). Fact is, I was absent from class the day they covered sequential systems. You may have better luck. In my studio at least, an insider-accessible, comprehensive cataloguing system would be worth a boxcar of gold bricks. I can see an entry now: #1678, Whistler Mountain, Oil/C, 16”x 20”, Jan 17, 1978, “It was a dark and stormy night and the ski-hill was a ribbon of ice. Sara hit a mogul and broke her leg.” But alas, unpleasant associations like this will forever be difficult to pinpoint. Recently, an old painting came in for cleaning and I noted #43 in my writing on the back. I would have loved to tell the owner something about it, but I’ve lost the catalogue. Personally, I like the idea of an old fashioned journal--a sort of Pepys’ Diary with cryptic tweetlets and insider asides. (“Particularly bad day for bears,” kind of thing.) Just out of interest, I’d also like to know the time I started and the time I finished. Oh, and the amount of paint I used. I guess the main argument against keeping track is the possibility it may turn perfectly lovely chaos into bookkeeping. I took a chance and asked Joan Morris who works with Mark Zuckerberg if they might come up with an app just for us, but they were all too busy watching the stock. Dennis, don’t do what I did, do what I say. Get yourself a big handsome book and start cataloguing and notating everything you do. It’s too late for me. I’d look even more stupid starting at #23,866. Best regards, Robert PS: “Chaos breeds life when order breeds habit.” (Henry Brooks Adams) Esoterica: There are 7,650,000 Google destinations when you type in “computerized cataloguing systems.” I’ve heard of artists using commercial and library applications like “Catalog Builder” and “E-catalog.” A long-time standard is “GallerySoft,” designed specifically for art galleries to keep track of inventory, but in use by a few artists. Some catalogue systems have search capabilities. Type in “broken leg” and in my case I would have been whisked to the unfortunate memories associated with #1678. We’re now in the 21st Century, folks. Ya gotta love this stuff.

Painter’s Keys - Robert Genn

Cataloguing for life June 29, 2012

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Resonate by Elizabeth Chapman

Elizabeth Chapman

Submit your portfolio to join Contemporary Fine Art International.

Filomena Booth

Kay Crain Fine Art

An impressionist who specializes in portraits, beachscapes, and paintings from nostalgic photos of the 1940s thru 60s, Kay works in acrylics and oils. As a member of the Daily Painters movement, she posts several new works each week, on her blog “What’s On My Easel?” and at Commissions are always welcome: a portrait or a painting of a favorite family moment makes a great - and affordable - gift.

To see more of Kay’s artwork and to visit her blog, go to her website.

Sallie-Anne Swift


Art Challenge

June 2012

Best of Show Lesley Humphrey Below:Three Generations


Left: Winning Painting At The Beach

First Place Carol Smith Myer


New York Walk

Second Place Victoria Castillo


Sisters on a Porch Taos


Third Place M Allison

Honorable Mention

Barbara Jones

Barbara Haviland

Honorable Mention

Debbie Flood

Linda Bell

Barbara Mason

Elizabeth Barrett Cooper

June Rollins

Russell McCall


Ann Rogers


George Ayers When did you realize you loved art and wanted to be ‘an artist’? I’ve always enjoyed sketching and architecture and was also a draftsman by trade for about 12 years. I didn’t develop an interest in painting until recently. Going through some life changes I picked up a brush about 2 years ago and began obsessing over learning as much as possible! Who has been the greatest influence from your past to mentor you to this career? I don’t have a mentor in the traditional sense but my family has always supported the mindset of pursuing my dreams however financially stable or otherwise they may be. Who is your mentor today, or another artist you admire and why? I really enjoy most classical realism (Rubens, Titan etc...) and especially portraiture from that era which is what inspired me to research the methods they used. One of my favorite contemporary realism artists is Alexei Antonov. His still life paintings are just really wonderful and I modeled my painting technique after his which are based on early Flemish painters. Neil Hollingsworth is another contemporary realist that I really like. There are others and thanks to the internet I’m always finding new artists who’s work I really enjoy. What is your favorite surface to paint on? Describe it if you make it yourself. I’ve only painted on canvas and wood panel to this point. The wood panel works really well with glazing as it is really smooth. I still prefer canvas and experiment with different weaves and weights. Due to my style of many layers I tend to stick with lighter, smoother canvas which works better. On my larger pieces I stretch my own but usually buy pre-stretched canvas for smaller paintings. What brand of paints do you use? I use Old Holland Classic oils mostly and occasionally Windsor Newton artist series for larger tubes of ivory black, titanium white and burnt umber which I go through pretty quickly during the underpainting phases. Do you have a favorite color palette? Well, I have an only color palette! On my underpainting layers I use burnt umber, titanium white and ivory black. Once I get to my color layers I only use ultramarine blue, burnt umber, alizarin crimson, cadmium yellow pale, titanium white. Sometimes I’ll use cadmium red, vermillion and rose depending on the sort of pinks and purples I’m looking for.



George Ayers



Joe Mancuso

When did you realize you loved art and wanted to be ‘an artist’? I was very content drawing and coloring at a very young age. When my family would visit my grandmas house, I spent a lot of time viewing the paintings on the walls and traveling into them with my imagination. At some point I was asked by an aunt or uncle if I was going to be an artist and I said yes. Who has been the greatest influence from your past to mentor you to this career? I grew up down the street from artist James Murray. I would periodically walk up the street and visit him in his studio to look at his pencil and charcoal drawings. He would talk to me about art but I usually had no clue of what he was saying so I would just listen and look at his work. Another artist I admired greatly was Helen Seal. Helen was a watercolorist from Torrance California. My family was on a Sunday outing to the town of Mammoth Lakes during one of our annual High Sierra family camping trips. We happened by an art fair and I remember walking by Helen Seal’s work and being mesmerized by her sketches of the Sierras. I was struck by their simplicity. I knew at that moment that this was what I wanted to do. My mom recognized my excitement and purchased my favorite. It still hangs in my studio today. Who is your mentor today, or another artist you admire and why? I’ve never really had a mentor but there are certainly artists I admire. Clyde Aspevig is one artist I continually study. Bill Anton, Matt Smith, Jesse Powell, Gil Dellinger, Kathryn Stats, Marc Hanson and Brent Cotton are artists whose work I admire. Recently I’ve taken notice of Tibor Nagy. His work is quite abstract. He knows how to paint only the essentials and the viewer gets to fill in the rest. What is your favorite surface to paint on? Describe it if you make it yourself. For pastels I mostly use a grey Pastelbord by Ampersand. For oil painting I use a variety of surfaces from linen to Ampersand artist panels. What brand of paints do you use? For oil painting I use Holbein, Grumbacher and Windsor Newton. I use a variety of soft and hard pastels including Holbein, Nupastel, Terry Ludwig, Girault, Sennelier and Unison Do you have a favorite color palette? I would say that I prefer a cool palette.




Joe Mancuso

Left Page Top Left: “Joy Left Page Top Right: “F Left Page Bottom: “Res Right Page Above: “Re

I’m known for my tree paintings, especially aspen and birch trees. The earliest experience I can remember that affected my love for painting trees, was watching my mother paint when I was a young girl. With every whimsical brushstroke, she seemed to have a way of bringing her trees to life! My love for painting aspens began over thirty years ago while I was on vacation in Colorado. Since then, I’ve returned on numerous occasions to photograph these incredible trees for subject matter to paint. I’ve been deeply inspired by the works of Vincent Van Gogh and Paul Cezanne. Their rich brushstrokes, and use of color and light, inspire my work and make me want to be the best artist I can possibly be! Whether painting landscapes, flowers, or nature, my passion is to convey the beauty of God’s creation and the joy of life.

yful Encounter” 48 x 48 Acrylic on Canvas Found Beauty” 10 x 8 Acrylic on Canvas silient Beauty” 36 x 48, Acrylic on Canvas esonant Encounter” 11 x 14, Acrylic on Canvas

Jill Saur

Niki Gulley

Contemporary Impressionist

Textured Oil Paintings flowing with light, energy and color.



Travel Workshops for painters, photographers, or anyone who loves to travel, led by Niki Gulley and Scott Williams.

Santa Fe, NM * Aug. 12-16 Tuscany, Italy * Aug. 31 - Sept. 8 Carnival * Venice, Italy * Feb. 2013 Athens/Santorini, Greece * May 2013 Tuscany, Italy * Sept. 2013 Cinque Terre/ Lake Como, Italy * Sept. 2013


Fredericksburg, TX * Nov. 2-4, 2012

M Allison

Artist of Texas I love to paint and am especially grateful for the interest it draws. Recently, it was such a treat to have two very gracious friends to host a private art show for me. I had the opportunity to meet with prospective clients and designers and personally discuss my art and the stories behind each piece. It’s always bittersweet when a buyer walks away with a painting in hand, but there’s nothing more gratifying than knowing that someone will enjoy it as much as I have had in creating it. “What an artist is for is to tell us what we see but do not know that we see.” - Edith Sitwell

Left: In Their Happy Place 48 x 48 Right Page: San Miguel Door 36 x 48 Right Page Top Right: The Note 24 x 36 Right Page Bottom: Fruit and Flowers 28 x 54

M Allison LeftTop: Lotsa Heart 14 x 11 Left Bottom: Alone 20 x 16 Center Top: Urban Meeting 40 x 42 Center Bottom: Inspire Me 24 x 36 Right: Beach Dancing 24 x 36

Hall Groat II NY Critic Review

Finding a Voice as a Young Artist: A Review of Texas Artist Melissa Doron’s Work The paintings of Melissa Doron undoubtedly express the spirit and energy of a young artist working to find her voice, while grappling with the fundamentals of painting and drawing. She received her Bachelor of Fine Arts in the year 2000 from Fairleigh Dickinson University, and has traveled extensively. Ms. Doron professes to celebrate the beauty of ordinary scenes in a manner that is both intense and dramatic. She predominately paints landscape motifs, exploring the ocean, sky, clouds, mountains, trees, waterfalls, plant-life, etc. Her romantic work perhaps at one level chronicles her life’s adventures and passions. The sense of color and light is visually engaging; however the overall naïve form of the work is limiting, often resulting in compositions and forms that do not appear fully explored. For example, the 48x38” painting entitled Autumn Mist depicts a row of lollipop-shaped trees below a moon-lit sky that possesses beautiful tonalities; however with a more solid understanding of the actual anatomy of trees Melissa would be able to vary the way in which she naturally stylizes, making the work more visually compelling.

Contemporary Fine Art Review by NY Art Critic Hall Groat II Painter Hall Groat II, professor of fine and media arts at Broome Community College, teaches foundation courses in painting, drawing, color theory, and computer graphics. Groat earned a master of fine arts degree in painting and drawing from City University of New York at Brooklyn, a bachelor of arts in art history, minoring in studio art at Binghamton University, and attended graduate and certificate programs at Buffalo State College, Syracuse University, and Savannah College of Art and Design. He also attended summer sessions at Chautauqua School of Art, Chautauqua, NY, and Vermont Studio Center in Johnson, Vt.

Hall Graot II NY Critic Review

The smaller-scaled 15”x14”piece entitled Stargazer, depicts a large lily in full bloom that’s illuminated by the nocturnal sky. This painting is my favorite, as it shows evidence of being sensitively studied. The contour of the floral form is varied, and the tightly cropped composition results in a dynamic relationship between positive and negative space. The bold, fluid brush strokes turn the forms and offer visual weight. This summer I’d love to see Melissa make “a painting a day”, or paint mother-nature daily on a more intimate scale. Studying nature daily through a sketchbook and single-session, one hour small painting studies, will strengthen her powers of observation. Maintaining this daily visual diary of nature will enhance the larger artworks. “Strike the eye and seduce the mind through careful contemplation of nature daily” should be her new mantra!

Blog Review

Missouri Artist Spotlight

Kay Crain

Missouri Artist Spotlight

Missouri Artist Spotlight

Elizabeth Chapman

Missouri Artist Spotlight

Missouri Artist Spotlight

Lorrie Boyds


Missouri Artist Spotlight Florida Artist Spotlight

Diane Whitehead

Artist of Utah and Montana

Diane Whitehead is an avid outdoors woman and a self-taught artist. She is highly praised for her strong brush strokes a make her work come alive. Diane paints what she loves best; nature and animals. Her flowers and landscapes reflect the calls home and her animals look you in the eye with a majesty and gentleness that create an instant bond. At once elegan touch our soul and our sense of humor. Born in Spokane, Washington, Diane began to paint earnestly when an uncle ga eight children, she found painting to be her most treasured “quiet time�. Originally determined to be a veterinarian, Dian animals and oil paint to make the perfect marriage of creativity. Diane is a full-time artist working from her studio in Pa a Plein-air painter in the mountains she loves. She has participated in workshops with Reid Galey, Carolyn Anderson an new techniques for her creative expression.

and bold use of color; both of which moods of the western mountains she nt and whimsical, Diane’s animals ave her his set of oil paints. One of ne feels she has combined her love of ark City and when the weather allows, nd Jove Wang and continues to pursue

Right: Cowboy Below: Horse Runs

Right Page: Great Moose Left Page Above Left: Blue Bear Left Page Above Right: Black Bear Left Page Right: Bear Perfect

Diane Whitehead

Oil Painting DVDs Professor Hall Groat II Step by Step Demonstrations

Kristine Kainer

Lesley Humphrey

Artist of UK, Texas, North Carolina

“It is my belief that we can all learn to paint, but it is in the silent, beautiful recesses of our heart and soul where the masterpi the images of that place, and bringing them into the world for you to glimpse, is my goal; Helping you to find them within yo

Lesley Humphrey was the official 2011 Kentucky Derby Artist. She uses expressive equine imagery as a symbol of the human Arts and education, Humphrey is offering her entire artistic process, worldwide, via free ‘Lessons With Lesley’

iece is born. Exploring ourself, is my vocation.”

n spirit. Passionate about the

THE DERBY BEAT by Lesley Humphrey (2010 All rights reserved)

When sometimes you feel out of place, You’ve further to run just to stay in the race, And the journey ahead seems too hard to face .......Don’t give up When legs become weak, and muscles burn, And the earth beneath you begins to churn, To safer ground, your thoughts may turn, yet ......Don’t give up When your heart can offer you nothing more, When defeat descends like leaden door, With your confidence leaking from every pore... .....Don’t give up When all you can do is stay in the race, Rejecting all compromise; not saving face, When you dig deep just to keep your pace .....Don’t give up You’ll reach a point when, as you make the last turn, From deep within, a force starts to burn, Internal fires fueled, when you yearn... just... .....Don’t give up The finish line, that glint of gold Is reached by those who do not fold, For guiding hands come to the bold, who .....Don’t give up That vein of gold you rush to meet, The pulse of life pounds with your feet, You’ll find resolve in every beat, if you.. .....Don’t give up! .....Don’t give up! .....Don’t give up! .....Don’t give up! (Can you hear the hoofbeats?)

Suzy Pal Powell

Artist of Texas

Marie Fox

Diane Mannion


aily Painters.comDaily

Tom Brown

Connie Chadwell

Theresa Paden

Monique Straub

V Bridges Hoyt

Robin Cheers

Tim Gagnon

Diane Whitehead Becky Joy David Larson Evans Mark Schwartz

Debbie Grayson Lincoln

Deb Kirkeeide

Nancy Eckels

Sally Shisler

Linda McCoy

Kay Smith

Jason Tako Filomena Booth

Nancy Medina

Hall Groat II

Carol Engles

Kay Crain

Gretchen Kelly

Melissa Doron Melissa Doron is a colorist who celebrates the subtle, natural beauty of ordinary scenes in a way which is both intense and dramatic. She paints in both oil and acrylic and has a diverse portfolio - from brilliant beach and forest landscapes to abstract color works. Doron has travelled extensively internationally and is noted for her bold use of color, the world over. Melissa’s paintings sell quickly, appealing to those who love landscapes and of course, her use of color. Doron is also well known for her use of 5 stars in her landscapes, noting one for each member of her family. Melissa Doron is very active in community service and her art has benefited more than a dozen charities and schools which used the art for auctions to benefit the children of Houston.

Below Left Bottom: African Savanna 44 x 48 Below Right Bottom: Hidden Mystic 26 x 26 Right: Last Leaf of Fall 34 x 42

Artist Statement “I paint things that move me. I want those looking at my paintings to feel as though the viewer is a part of it. Through my work I attempt to examine the phenomenon of emotion- of what truly touches a person in their soul- through unity and harmony as a metaphorical interpretation of both balance and beauty. What began as a personal journey of contemplation has translated into images of vast landscapes and sheer color that resonates within people. My paintings embody desire for solitude, yet the familiar imagery allows for a connection between the mind and heart. If a person walks away from my painting and is still thinking about it hours later then I’ve done my job.�.

Melissa Doron

Above: Houston State Of Mind 25 x 16 Left: Incubus 19 x 14 Juried Show Figurative

Carolyn McDonald

When did you decide to paint figurative work and what inspired you to try it? In the mid nineteen seventies, I had fantastic drawing teachers at the University of Tennessee and I wanted to incorporate my figure drawing into my paintings. This decision was not popular among the painting professors. It was a time when students were pushed to give homage to Jackson Pollock and Abstract Expressionism. I pursued the plan and received very little feed back from the professors. At the end of one quarter, we had a critique where the professor went on and on about how great the Abstract Expressionist paintings were. He acknowledged me for being persistent in figurative work. At the end of the critique, I left to get my car to transport ten canvases back to my apartment. I returned to the class studio where all my work had been stolen. Yet all the abstract work was still there. Although I was sad that all my work was taken, I decided that the thief had given me the best compliment ever. Do you paint from a live model or from photographs when you are doing figurative work? I do both. I take photos of the model and may begin from life. Later I switch to the photograph and then back to the model. Sometimes I work strictly from the photograph. When doing this, I refer to reference work that has the correct local outdoor color. I take my camera wherever I go, so I take a lot of photos of people, all the time being careful not to invade their privacy. Sometimes I use the same images in more than one painting. I also take photos of my family and art students. Some are posed and some are candid. What do you do when you have a creative block? I take a walk most of the time. Basically, just getting away from the process and not thinking about it works the best. Sometimes, I look at other art on the web, in museums, art galleries, or just look at magazines. Cooking and yard work works well too. When I stop concentrating on the challenge, the answer inevitably comes. What painting of yours has the most meaning to you and why? My favorite painting is called, “Group Therapy.” It is a painting of three women walking on the beach. It helps to keep me in contact with who I really am; that I am relational and not a hermit and that I am more creative and healthier in community than being a recluse. All the women in the photograph were originally in bikinis. I decided to change their clothing to be more flowing to give a softer sense of being free. I have a very calm feeling when I look at it, so I decided to hang it above my bed. What is the most challenging part of your creative process from blank canvas to finished piece? The most challenging part is the beginning. I battle the old voices that say, “I’m not good enough,” or “how did you possibly paint such a wonderful painting last time?” A one-week workshop with Dreama Toll Perry helped to relieve the negative voices. She stressed positive self-talk and how to put a few brush lines on the canvas to help with perspective. But the most important thing I learned was to have fun as I lay in very thin transparent oils to block in the shapes for the under painting. It really didn’t matter what color I put down as long as the transparent oils were dark shades. The real magic popped as I laid in thicker paint on top of the transparent oils. Painting in this order has taken the “fear” out of facing a blank canvas to the finished piece. What is on your easel right now? I am currently working on a scene from “The Summit” in Birmingham, Alabama. I took the photo of a young woman walking down the street under the freshly watered pots of flowers, blowing in the wind, as they hung from the lampposts. Juried Show Figurative

BEST OF SHOW Interview Questions for Juried Figurative Show 2012 Juried Show Figurative

Suzy Pal Powell

When did you decide to paint figurative work and what inspired you to try it? I have always liked and wanted to paint people, but just put it on the back burner, hoping to learn more about drawing them, and I finally just started doing a few. Do you paint from a live model or from photographs when you are doing figurative work? I use photos. I am not in a position to have models. What do you do when you have a creative block? I just start sketching, going through my photos, or going through my sketchbooks. I believe that we have to go to our place where we create and just start. There have been times, when I would think, I do NOT want to be out here, but I just keep going. If I can turn out something I am ok with, that’s good. If I don’t, I don’t stress over it because it is just paper and paint (or glue) not a matter of life or death. I don’t think we can wait for inspiration, I think we have to show up, and start creating, and hopefully it will happen! I sort of treat it like a ‘job’. What painting of yours has the most meaning to you and why? Probably some of the flags I have done. Ones donated for wounded soldiers. However, the one I am working on for my husband’s birthday may be the one! He was in the Navy Seabee Band. He went in in 1966, and he will be 66 July 1st. So I am doing one of him with his Tuba. It is an awesome photo. My favorite. The only problem is it is a newspaper clipping, and not in great shape, so I am having to work from it. It has brought back many memories for me. We had been married 1 year when he left. What is the most challenging part of your creative process from blank canvas to finished piece? This is a hard question! The worse part for me is starting a new piece. Sometimes it just works, and sometimes it doesn’t. I don’t travel much, so sometimes it is very hard to find something exciting to paint, or collage. What is on your easel right now? Actually right now, today, I am trying to finish up the birthday painting I talked about. I also have a watercolor started but can’t seem to get back onto it. Short Bio Suzy Pal Powell I never went to college, or even had art in the schools I attended, but I was always drawing, and doodling on things. I started with oils in the late 80’s and realized I was allergic to them. I switched to pencil and pastels, and then in the early 90’s started doing nothing but watercolor. In ’98 I got really serious about it, and started painting every day if I was at home, and going to workshops. I have been fortunate enough to get to teach some workshops, and love teaching and sharing. My philosophy is it is just paint and paper. Just enjoy the process, and if it doesn’t turn out, is ok. It is not a matter of life or death! Juried Show Figurative

First Place Interview Questions for Juried Figurative Show 2012 Juried Show Figurative

Second Place Lesley Humphrey

Honorable Mention David Larson Evans

Third Place Pamela Blaies

Honorable Mention Carol Peterson Juried Show Summer 2012 ‘Figurative�

Honorable Mention Marie Fox

Honorable Mention Maryanne Jacobsen

Honorable Mention Liz Hill

Honorable Mention Sally Cummings Shisler Juried Show Figurative

Honorable Mention Kay Crain

Melissa Torres

Melissa A. Torres is Registered Nurse, originally from Newburgh, NY, with no formal art education. She began taking an acrylic art class in March of 2011, but has been painting and drawing since childhood. Most of her work so far has been commissioned pieces. She loves to transform a photograph of a person’s loved one(s) or pet(s) into a work of art. Sometimes she paints it exactly like the photo, but at times she changes the background or several things to individualize the painting to her style. She is most comfortable working with acrylic, but has done work in water color, pastel, and charcoal, and recently began working with water mixable oil. Melissa finds inspiration in just about anything, but usually nature, people, and pets. Paintings that aren’t commissions are usually as a result of a desire for her to challenge herself and to learn more. Melissa presently lives in San Antonio, TX, and works as an Emergency Room Nurse. She is the girlfriend to a wonderful man, the mother to a lovely son and two dogs, and the grandmother of a little angel. You can see her complete portfolio on her website,

Above: Red Corn Poppies Left Bottom Left: Hummingbird Left Bottom Right: Texas Sunset

Melissa Torres Above Right: Nude Shower Center: Woman with Curls Left: Girl in Bluebonnets


Hall Groat II

Nancy Medina

Delilah Smith

Nancy Standlee

NA Bozeman

Mary Jo Zorad

Artist of Washington

Mary Jo Zorad has been drawing and painting since a young child. She always wanted to be an artist. Her first teacher was her father who spent time drawing while he tutored her in math. Her first solo art presentation occurred in High School. She has painted and sold art for over 20 years. Her career took a turn into Psychology and Art away from a full time artist after Junior College where she studied art and art history. While in graduate school she continued painting and drawing while writing her dissertation. She sold and gave away many of her paintings while studying psychology and art therapy. During that time her graphic design drawings were included in mail order catalogues and her paintings in business offices. Mary Jo’s subjects vary from domestic animals such as cats and dogs, to landscapes, people, still life, horses and wildlife. She paints in oils, watercolors and pastels. She was born in Indiana, moved to California where she studied, and now lives in Washington on a 5-acre organic farm. Mary Jo states “I am fortunate now to realize my expression and passion for art and make a living with this creativity. It is the expression of life and nature surrounding me that I seek to portray. I paint what I see and feel in my soul. Nature – closest to our soul, creates the vibrant colors that sparks the eye and warms the heart”. She was never far away from her true calling of creative expression.

Kimberly Conrad

Artist of Colorado

Pouring Color into Your Life I am a full time artist, dividing my time between painting and teaching in my Colorado studio. Having painted on most every surface imaginable, at this time I work primarily on canvas, board, and paper. Though my style remains quite diverse, I believe I have the heart of an Abstract Expressionist, or even more accurately, an Action Expressionist, as I am most definitely an “action painter”. My preferred application, used in my landscape, seascapes and aspens is to “pour” my paint, manipulating the flow with water and body movement. I use no sketches or brushes, rather allow the paint to move freely and tell it’s own story. Each painting is a journey, dictated primarily by my current thoughts and emotions, be they happy, sad, peaceful or frenzied.It is a mysterious relationship, and is thrilling when the painting finally reveals itself, and our private journey becomes a story to share.

Debbie Grayson Lincoln

Artist of Texas

Laurie Justus Pace

Artist of Texas

100 Horse Paintings in 100 Days for $100 each.

Our First Book Watch this fall for the first International Art Book from

contemporary fine art international

Visual Language Vol 1 No 6  

Visual Language International Voices with International Artists telling their story with the arts. Daily Painters, sculptors, glass...

Visual Language Vol 1 No 6  

Visual Language International Voices with International Artists telling their story with the arts. Daily Painters, sculptors, glass...