Visual Language Magazine vol 3 no 12 December 2014

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Visual Language

contemporary fine art

VL Rainer Andreesen rainerart.com

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Features: Rainer Andreesen - Angela Hardy - R Lewis - David Kalbach - Vincent Wray

December 2014 Volume 3 No. 12

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visual language contemporary fine art

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December 2014 Vol 3 No 12 ŠGraphicsOneDesign1998-2014

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RAINER ANDREESEN Portrait Painting Art was my salvation. I felt truly at home in my heart while drawing or painting. I had no idea of where it would lead me, yet somehow I knew that it was my ticket to see the world beyond the small island on which I grew up on.

rainerart.com

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JANET BROUSSARD

“Tin Snowman” 7 x 5” Oil

“You Said You Wanted a Car” 7 x 5” Oil

“Santa on a Trout Ornament” 7 x 5” Oil

janetbroussard.com

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Cover Artist Rainer Andreesen 3 “Art was my salvation. I felt truly at home in my heart while drawing or painting. I had no idea of where it would lead me, yet somehow I knew that it was my ticket to see the world beyond the small island on which I grew up on.”

Painter’s Keys - Sara Genn 11

Any Colour You Like: Rainer Andreesen 34 “The Haunting, and the Happiness, of Rainer Andreesen” - As Told to Dave Justus

Studio Visit with Angela Hardy 64 “Artist, Painter, Storyteller”

“So the painting process is somewhat a story process, a therapy process, a healing process and in part an architect process for each person involved, including myself.”

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Artspan Studio Visit Richard Lewis 80

“Now when I am driving I often find myself looking at reflections in the cars around me. I find it interesting to watch the reflections change as the cars go down the road. A partly cloudy day can make almost any car look beautiful to me.”

“Holiday Greetings: From the Heart of Texas” 100 The Artists of Texas invite you to step into the warmth of the holiday season by celebrating the joy and happiness that this time of the year brings.

“The Artist and the Art of Spiritual Practice” 124 By: Barry W. Scharf “I often paint with some abandonment of intellect, detached and trusting to that greater self that guides the brush.”

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content Artist Interview with David Kalbach 130

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

When I was a child I loved to draw pictures of airplanes, cars, boats and people. My father, while not a practicing artist, was very proficient with artistic skills as was my grandfather. They set an example or had a skill level which I desired to emulate.

Vincent J. Wray 156

By Angela Hardy

Getting verbally tactile with the Graphically-Organic abstract work of Vincent J. Wray

Directory of Artists and Galleries 176 In alphabetical order you can easily find all featured artists and advertising artists, along with featured galleries in our index directory.

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Richard Levine Pastel Painter Landscape and Figurative

“The Coast at Port Clyde�

www.richardlevine.net

Davis & CO Fine Art

email: artisanrichard@gmail.com

dandcgallery.com

Contemporary Abstract Art in Acrylics and Mixed Media

“On the Edge of Something” 30” x 24” Acrylic on Canvas

Jana Kappeler

janakappelerstudio.com janakappelerstudio@live.com VisualLanguageMagazine.com - VL Magazine | 9

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visual language magazine Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Ashley Thompson Contributing Editor Lisa Neison-Smith Consulting Editor Nancy Medina Feature Contributor Sara Genn Painter’s Keys CFAI Contributor Kimberly Conrad Featire Writer Dave Justus 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 12

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www.kwoodfineart.com

www.kristinekainer.com

Robert Genn’s Studio Book

Design life Winter 2014 American sculptor Robin Antar says, “Life is an empty square unless one fills it up with matter.” Life is also just waiting for our design. Last Saturday my family joined old and new friends, artists and collectors who had gathered to celebrate a personal connection with Dad’s paintings. Wet eyes and tender smiles met in front of painterly mountain peaks rising behind dove-grey clag, scumbled islets and weathered totems, their silvery cedar breathing from the canvas. I saw the sparkling faces of the local art chapter -- torch carriers for the collective cause. Love was in the air -- love of art and the art life -- shared by a collection of people witnessing the revelation of a life composed and executed from a thoughtful design.

“Design is the application of intent,” says Robert L. Peters, “the opposite of happenstance, and an antidote to accident.”

Peters, a designer and conservationist, has been living, since 1982, in an ultra-low-energy, passive solar house of his own construction. “I get just as excited about building a birdhouse as when providing strategic counsel to a client,” he says. Design informs his every manoeuvre. And what about people? “Design creates culture. Culture shapes values.

Values determine the future,” says Peters.

The Painter’s Keys - Sara Genn

The Painter’s Keys Robert and Sara Genn

A life by design is within grasp -- so is a world. As artists, we’re already in the practice of understanding how to be true.

Our lives are devoted to developing a craft, not to be victims of aesthetic, philosophical or functional accidents. “The details are not the details. They make the design,” said Charles Eames. Agency is a powerhouse -- in the microcosm, it’s on the picture plane. But the brave among us design inward and then outward to involve the workings that shape our global landscape. “A man,” wrote 19th century author James Allen, “sooner or later discovers that he is the master-gardener of his soul, the director of his life.”

Sincerely, Sara PS: “Life is your art. An open, aware heart is your camera. A oneness with your world is your film. Your bright eyes, your easy smile is your museum.” (Ansel Adams) “I am not afraid of storms, for I am learning how to sail my ship.” (Louisa May Alcott) Esoterica: Robert L. Peters was born the middle son of Mennonite missionaries in Steinbach, Manitoba in 1954. At the age of 3 his family moved to Frankfurt. After studying art and religious studies in Switzerland and the U.K., Robert volunteered with an African Relief mission before returning to Canada to begin life as an artist and illustrator. Winnipeg-based Circle Design, under the direction of Robert L. Peters, has built brands, identities and communication globally and has also designed many Canadian postage stamps, first day of issue covers and philatelic collectibles. Circle’s work has been recognized and collected worldwide and has won over 60 awards for design excellence. At home in the woods of Eastern Manitoba, Robert has no need for a powered furnace. He does, however, have a climbing wall. “Here is a test to find whether your mission on earth is finished. If you’re alive, it isn’t.” (Richard Bach)

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Artwork (l to r): Laurie Justus Pace, ‘The Gathering One’- Original Oil on Canvas, 32” x 48”; Svetlana Shalygina, ‘Silhousettes De Versailles’ - Mixed Media on Canvas, 36” x 36”; Javier Lo miradafineart.com Bruce Marion, ‘The Adventure Begins’- Original Acrylic on Canvas, 36” x 60”; Jill Shwaiko, ‘O

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Larisa Aukon, ‘Thousand and One Night,’ - Original Oil on Linen 30” x 48”; opez Barbosa, “La Villita,’- Oil on Canvas, 46” x 44”; On a Mission’ - Limited Edition Bronze Sculpture, 24” x 19” x 9”

Jonelle T. McCoy

Rhythm and Hooves Series “Encore�

Blending texture and color for an equine portrait with depth and richness.

jonellemccoy.com

www.caroljosmidt.com

“Swamp Queen"

carol@caroljosmidt.com

Oil

7" x 14"

Michal Ashkenasi

Abstract Figurative and Minimalistic Paintings

“Abstract 1�

michalsart.com

Michal Ashkenasi

“Abstract 2”

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BAUER Logan Bauer Logan Bauer spent much of his elementary and secondary school years overseas. He took his first painting class in London, England at the age of 13 years old. Upon his return to Arizona, he continued to take art classes at Phoenix College, and it was not until recently that painting stopped being a part time endeavor or hobby, but it became a full time commitment.

He presently paints out of his studio located in Northern Arizona near Prescott.

LoganBauer.com

Landscapes, Life Drawings, Still Life, Figurative Portraits

LoganBauer.com

BAUER Logan Bauer

LoganBauer.com

Landscapes, Life Drawings, Still Life, Figurative Portraits

LoganBauer.com

John Whitton Bria JohnBria.com Heading Toward The Old Man Of Storr Isle Of Skye, Scotland

Judy Wilder Dalton Contemporary Fine Art

Finding Life in Art and Art in Life

“Snowfall�

judywilderdalton.com wilderartist.blogspot.com

Aspen S P A C E S

Moonlight Trance 48 x 36 Acrylic with mixed media

Lelija Roy

aspenspaces.com

aspen.spaces@gmail.com

Isabelle Gautier French Contemporary Flair

“Panther Creek”

36 x 48

www.IsabelleGautiersArt.com

Leslie Sealey f i n e a r t

“Awakening”

16 x 16

Oil on Panel

The Lily Series LeslieSealey.com

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Aixa Oliveras

“At the Threshold” 36” x 60” Oil on Linen

“Realist paintings that convey a haunting quality to everyday scenes, with a psychological depth and an other-worldly feel.”

- Michaela Mende Janco, juror Art of Women Exhibition - Artisttableonline.com

aixaoliveras.com

Roseanne Snyder

“Saturday Night Live”

roseannesnyder.blogspot.com

Vicki Rees

vlrees.com TippingPaintGallery.com

Valerie Travers

“Seaspray” Oil on canvas 30” x 20”

“Coastal Beauty” Oil on canvas 30” x 20”

www.valerietravers.com

Valerie Travers

“Heavenly Feelings” Oil on canvas 30” x 20”

“Reaching for Heaven” Oil on canvas 30” x 20”

www.valerietravers.com

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Rainer Andreesen In the Studio - Photo by John Balsom

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Any Colour You Like

The Haunting, and the Happiness, of Rainer Andreesen as told to Dave Justus

Prince Rupert is, quite literally, the end of the road for a coastal island on the northwestern coast of British Columbia, 500 miles north of Vancouver, Canada. I was born there in 1963, and spent an interesting childhood in this remote, unique, relatively wealthy town. Prince Rupert was basically a fishing village at a time where there was a great deal of money to be had in that industry. I found myself attending high school with friends that made $250,000 in a summer fishing. Instinctively, though, I knew at a young age that theirs was not the life I wanted, and so I tried to find what interested me in a path to my own happiness.

Art was my salvation. I felt truly at home in my heart while drawing or painting. I had no idea of where it would lead me, yet somehow I knew that it was my ticket to see the world beyond the small island on which I grew up on.

After graduating from high school in Prince Rupert, I went to art school in Vancouver. I remember being terrified at the challenge of not really knowing how I was going to turn my love of art into a stable career. I ended up taking a three-year intense graphic design program at Capilano University in Vancouver, which honed my skills in illustration and design before directing me into a career in advertising. I worked for an advertising agency for two years and then moved to a design studio for two more, while maintaining my own clients for corporate design and illustration. Eventually, I ended up opening my own design studio while spending what little free time I had painting portraits on the side. I found myself bogged down with the design work; although I loved it, I also felt pressured by the changing, computer-driven design world. When I’d graduated from art school in 1986, computer design had not been part of the curriculum. I have since incorporated computers as a helpful tool for drafting compositions before they reach the canvas, but back then, they seemed more of an obstacle than a boon.

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At that time, one of my clients was a fashion photographer who asked me to model for a project she was working on. The notion came out of left field; I had never once considered modeling as a career.

That job led to a department store campaign that featured me on billboards all over Vancouver. A scout from Italy saw the billboards and asked me to come to Milan with a modeling contract. I thought it was the perfect opportunity to travel abroad and left for Italy on what I thought would be a two-month adventure. Two years later, I was a successful model traveling the world and eventually found myself living in New York. My time there—and all the travels that had led to that point—had provided me with a life far afield from where I’d started and full of inspiration and adventure. My modeling career was going very well; I was working for top designers such as Armani, Valentino, Zegna, and Gucci. I ended up with a contract for Saks Fifth Avenue in New York while at the same time working for J.Crew, L.L.Bean, and Eddie Bauer, among many other catalog companies. Even today, I am as surprised at my continued success in the field as I was at that very first job offer.

Right Page: La Gitana

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Rainer Andreesen

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Any Colour You Like

Ken Olin 48 X 60 Oil on Canvas RainerArt.com

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The Haunting, and the Happiness, of Rainer Andreesen

After a while, though, I found myself missing the actual painting of portraits. I have been obsessed with portraiture as far back as I can remember (which may not be saying much, as my memory seems to be fading fast), and although I kept a sketchbook throughout my travels, nothing for me was as satisfying as painting. After six years in New York, I took a break from modeling and moved to Los Angeles with my partner, actor Victor Garber, to concentrate on my paintings of portraiture. With all my adventures and inspiration from my travels, the brush became my guide to paint what I had built up inside me. I had started with watercolors, but made the switch to oils and never looked back, feeling they were the best medium to express what I needed to get onto the canvas. I painted constantly for the next eight years, doing commissions and working on my first solo show.

During this time, I brought forth a series of paintings that I felt had always been deep in my soul, of portraits in black and white. This Gray Matter series explored the humanity of a portrait and its perception by the viewer. I listened to, and meditated on, Pink Floyd’s The Dark Side of the Moon album every morning and while I painted each portrait.

It was one of the best and deepest experiences I have ever had while painting. The show was a success beyond my wildest expectations. The turnout of people—including Ben Affleck, Martin Short, Steve Martin, Sean Hayes, Alec Baldwin, and Tom Hanks—was amazing, and the show sold half of its inventory in the first night. To say that I was humbled is an understatement. I am not someone who looks for acclaim in the art world; I don’t enter portrait compositions or artist workshops to gain a name or reputation. My goal is to paint what I see in the world and how I see it according to my own eyes, and hope that someone can respond to it.

The fact that so many did, and continue to, is enormously gratifying to me as an artist.

I am still working on commissions from that show, although I have moved back to New York. In 2009, Victor and I bought a house in upstate New York as a getaway from the city, and I converted the carriage house into a studio. Half of my time is now spent modeling again after my eight-year hiatus, and the other half with painting in my upstate studio. I find it to be a great balance to live in Manhattan, with all its attendant energy, and to travel to the unique locales where I model, allowing all of those experiences to flow into my paintings.

Ken 48 X 60 Oil on Canvas

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The Haunting, and the Happiness, of Rainer Andreesen

Victor Reading Oil on Canvas

Inspiration for my art comes from so many sources—from other artists, to musicians, to encounters I can scarcely explain. By far, my most constant inspiration is famous portraitist John Singer Sargent, but I am also sparked by his contemporaries George Bellows and Anders Zorn, as well as the recently departed Lucian Freud.

I often make a musical playlist for each particular painting I am working on. Depending on the moods and themes I’m trying to achieve, the song selection can range from classical to singer-songwriter, from haunting melodies to straight-up rock ’n’ roll, or may be centered around a single recording artist. For the Gray Matter series, Pink Floyd was the perfect companion to the haunted mood I was striving to create with each portrait.

The album spoke to me, and complemented the underlying theme of the show, with its commentary on society and how we see it. With the painting of my partner Victor, I listened to classical music from start to finish.

His portrait demanded long hours of concentration for me, reflected in lengthy symphonic movements… and classical music also reflects his personality, as he listens to it constantly in his free time. I also threw in a few of his own Broadway recordings from time to time, such as “Johanna” from Sweeney Todd and “The Ballad of Booth” from Assassins. It helped me break up the process a bit and get inspired by the voice of the talented man I was painting.

RainerArt.com

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Andrew 48 X 60 Oil on Canvas RainerArt.com VisualLanguageMagazine.com - VL Magazine | 43

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Rainer Andreesen

Victor Reading Oil on Canvas

Whoopi RainerArt.com 20 X 24 Oil on Canvas

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Clive Davis 18 X 24 Oil on Board

The painting of music producer Clive Davis was done while listening to the wide variety of artists whose careers he is responsible for cultivating, such as Simon and Garfunkel, Santana, Janis Joplin, Aretha Franklin, and Whitney Houston, to name but a few. Whoopi Goldberg was painted while I listened to the soundtrack of The Color Purple. The photo I used for that piece had been taken at the time when she had filmed the movie, and the music provided a great way to hold onto her spirit while painting it. Unless a certain portrait requires a specific genre of music, I enjoy painting mostly to a haunting playlist of such artists as Radiohead, Ray LaMontagne, James Vincent McMorrow, Gustavo Santaolalla, and of course Pink Floyd. The landscape paintings and still lifes are usually started with classical music, but can slip into singer-songwriters if the mood reflects it.

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Any Colour You Like

Top Left: Robin Wright 20 x 24 Oil on Board Top Right: John Glover Study Bottom Left: JBH “The Waiting” 24 x 30 Oil on Linen

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The Haunting, and the Happiness, of Rainer Andreesen

Diana 24 x 30 Oil on Linen RainerArt.com VisualLanguageMagazine.com - VL Magazine | 47

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Any Colour You Like

Perhaps there is a reason I keep returning to music that gives me a haunted feeling. The upstate house that Victor and I bought once belonged to legendary burlesque entertainer Gypsy Rose Lee in the late 1930s. In the first few months of our residency, I painted the interior of the house, along with doing a few other repairs that needed attention. During this time, I felt that there was a nonthreatening presence in the house, occupying the third floor.

I was uncomfortable with the thought, but I always felt welcomed in the home by the presence. One night, while in a restless sleep, I awoke to see a ghostly, ashen figure floating at the foot of my bed.

I felt conflicting emotions of shock and comfort… but at the same time, I did not like that the presence had found its way to my bedroom, as I had locked the door to the third floor every night. That image was to haunt me for some time.

As an epilogue of sorts to this ghost story, a year or so later I approached a girl at my New York gym, something I never do, and asked if I could paint her.

She agreed, but after many attempts in my New York City studio, I did not feel that I captured her. I finally did a large painting in my studio upstate and found that suddenly the portrait worked. I hung the painting in my bedroom upstate, because the background seemed to match the wall color there. One night I awoke to see the same pale, ashen-dressed figure I had glimpsed two years previously… but this time, thankfully, it was only my painting.

Through a neighbor and our landscaper, I later learned that the ghost was not on the third floor, but in our bedroom on the second story. Intrigued but hesitant, I began to investigate the ghost’s existence. My neighbor told me of three deaths in the house; the ghost was the first of these. Ginny Augustin—herself an artist—had died there, though reports vary as to whether it was by murder or suicide.

After three months of our fixing the property up and almost finishing the interior painting, a fire struck the house. Three quarters of the outside walls remained, and the top floor was gone. Investigators attributed it to old wiring, but I felt sure it was Ginny.

Though I hoped her ghost was gone after the fire, I still felt a chill in my spine every time I approached the property. I worked in the studio while the house was being rebuilt, but continued to feel apprehensive until the old plumbing and wiring were hauled away. I remember that moment clearly: After a day of painting, I headed to the house without a shiver in my spine. I knew, at last, that Ginny was gone.

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The Ghost Paintings Series 1

The Haunting, and the Happiness, of Rainer Andreesen

The Ghost Paintings Series 2

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Rainer Andreesen

Brooks back stage 20 X 24 Oil on Board Right: Giaunluca 24 X 30 Oil on Linen RainerArt.com

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Any Colour You Like

Morning light 24 X 24 Oil on Canvas

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The Haunting, and the Happiness, of Rainer Andreesen

Nathan Lane 30 X 40 Oil on Linen RainerArt.com VisualLanguageMagazine.com - VL Magazine | 53

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Rainer Andreesen

My partner of 15 years, Victor Garber, influences much of my work. He is like a second pair of eyes to me, often coming into the studio and commenting on the paintings I am working on. His fresh eyes are able to tell me what is wrong or right with each painting in progress, and he is usually able to pinpoint something that I can’t see after living with a painting for a long period of time. I sometimes use a mirror to reflect the image I’ve painted—a helpful method of seeing a change I need to make if I can’t figure it out otherwise—but Victor is the mirror I trust the most. His influence also inspires me in many different ways. His Broadway background leads us to see many shows together, which give me a rush of influence that seems to filter into my paintings. Most recently, we saw Tom Stoppard’s Indian Ink, a drama—featuring, incidentally, a portrait painter—which dove into my soul, pushing me to rush to my studio to paint more of what I feel, rather than what I know. Victor and I also visit museums, both in New York and on our travels, with hours of discussion afterward. His views and insightfulness always seem to come into my head while I am painting. He helps me mentally when I get overwhelmed with a painting or with our busy schedules by calming me down and getting me to look at what is most important at the time.

I am inspired by my blessed and wonderful life in every moment that passes, and I use that as a deep well from which to draw. I often find myself looking at my everyday experiences through a brush and a canvas, with the hope that this shows in every painting I create. The experience and life in a subject I paint has to come across in the final piece. This is what I always strive to produce. To not only capture the likeness of the person, but to capture the soul and spirit, is the most fulfilling feeling I could ever want and need when I paint a portrait.

RainerArt.com

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Self Portrait 20 X 24 Oil on Canvas Board

Right: Victor 24 X 30 Oil on Canvas

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discover art . inspire collectors engage discussion . celebrate life

DAVIS&CO f i n e a r t g a l l e r y Home is where the art is. dandcgallery.com

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Rainer Andreesen Exclusively at Davis&Co

COONTS

Bob Coonts

“Prancer II”, 36” x 60”, Acylic on Gallery Wrap Canvas

www.bobcoonts.com

Carol Engles California Abstract Artist

carolenglesart.blogspot.com carolengles.artspan.com

Connie Dines www.artfulexposures.com “Amaryliss 8 x 10”

Artful Exposures One Frame at a Time “Pomegranite”

Night Gathering 36 x 26 Oil on Canvas

Laurie Justus Pace

Shades Advancing 24 x 48 Oil on Canvas

The Spirit of the Paint Constantly pushing the edge, Laurie presses in her work for discovery and celebration. Compositions change with color and dimension setting the pace for a unique painting every time with a new journey.

Viewing a Laurie Justus Pace painting is a rich experience that drips with color and emotion.

Her passionate works are alive with movement, boldly created with a wide brush and a palette knife. She loves working with oils, dramatically carving out the paint and transferring her energy to the canvas and ultimately on to the viewer.

LauriePace.com http://www.ellepace.com/paintings-for-sale/

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Studio Visit with Angela Hardy

Artist, Painter, Storyteller When studying a person to prepare to paint them, I need to honor them down to an emotional, cellular, historical level. When I begin to look and learn about the person I am about to transform, each person begins to take on a luminosity all their own. For every person I paint, each curvature of their skin is supported by structure that holds a historical story line. Within this the strength of their bone and muscle, which shows right to the surface in movements in their skin, creases, dimples, wrinkles of all ages. These are the stories of failures and triumphs, pains and blessings, loss and gains of love, loved ones, past, present and foreshadowing of an untold future.

The colors, tones and vibrancy of what pulsating skin shows me is unique. This I want to share with you. To give those that see my work a taste of their spectacular, soulful, cellar creativity that each emits, of which most are unaware. I paint to show that all on their own, they are growing creations, masterpieces. That someone, such as myself is so in awe of, I adore this and am compelled to recreate in paint. All in hopes that through my eyes and with my hand, people get a second sight of their rareness. Leaving a reminder on this earth and to the world, how magnificent they are. That each person is a rare beauty and a strength that is translated in to paint is an honor.

So the painting process is somewhat a story process, a therapy process, a healing process and in part an architect process for each person involved, including myself. Within this structure is my mission to create, to paint the obvious, however to dig in deep, to decode, dissect, unlock the not obvious; the part of the soul and being which the person feels that which they often believe is not beautiful. Painting so that they can see their true beauty and by doing so, I have to do the same for myself with each stroke of my brush.

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Currently am I am working through 50 celebrity icons, with which I will be partnering with world renowned photographer and creative genius, Dr. Andy Gotts MBE, to do a show in NYC. Meeting Andy personally over 2 years ago, face to face, changed my life. Meeting Andy, sitting with him privately in London for several hours I was entranced with his stories of life and how his career began. He has such a humbling presence, melded with magnificent passion for his art and the people, the celebrities he captures, it enamored me. His vision, drive and his determination was something I could relate to, understand and aspire to.

“I see my portraits of actors as a moment in time. There is no retouching involved; if there’s a hair out of place or a spot on their cheek, I’ll leave it in. In years to come I’d like people to look at my portraits and be able to see exactly how an actor looked on that day.” ~ Andy Gotts When asked to join him on this monumental collaborative show, which will be in approximately 1 year in NYC. My vision of Andy’s images in paint, shown side by side with his Photos. I was speechless, floored, beyond grateful that I would be given such a blessed opportunity to join visions. How my eyes transcribe in paint, with how Andy’s eyes captures with the lens in such exquisite, timeless moments.

That dream of being able to make the invisible now visible, show people their strengths, stories and beauty on a massive level is happening. With gracious thanks to those that I am privilege to paint, people like you who support, and to Andy and the ‘Andy Gotts’ of the world who willing are invest in the dreams of the creatives. Thank you.

Right: Lauren Bacall 6x6" Graphite sketch

Lauren Bacall 24x24" Acrylic on Gallery Panel

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Studio Visit with Angela Hardy

Clint Eastwood 6x6" Graphite sketch

http://www.angelahardyart.com/

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“Angela Hardy’s work is simply breathtaking. It oozes depth and feeling and gets under the skin of her subjects. Each brush stroke adds another layer of passion and feeling from this amazing artist and I am proud to have her work in my collection.” ~ Dr Andy Gotts

Clint Eastwood 24x24" Acrylic on Gallery Panel

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Angela Hardy

Robert De Niro 6x6" Graphite sketch

Robert De Niro 24x24" Acrylic on Gallery Panel

http://www.angelahardyart.com/

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Angela Hardy

Sir Christopher Lee 6x6" Graphite sketch Sir Christopher Lee 24x24" Acrylic on Gallery Panel

ANGELA'S ART http://www.angelahardyart.com/ https://www.etsy.com/shop/AngelaHardyFineArt/ http://www.facebook.com/angelahardyfineart "Color is my day-long obsession, joy and torment."-Claude Monet 72 | VL Magazine - VisualLanguageMagazine.com

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Elaine Vileria

Sorento

elainevileria.artspan.com

Sanda Manuila “OutSide of TIme” Oil on Canvas

sandamanuila.artspan.com

SCOTT MCINTIRE E N E R GY F I E LD PAI NTI N G S

Poppy Engergy Field |

Enamel on Canvas

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36” x 41”

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scottmcintire.com issuu.com/mcintire

2013

Susan Ketcham

PSA

“Checking it Twice” Giclee

SusanKetcham.com Ketcham Studio Gallery 6616 Blueberry Lane Pipersville, Pa. 18947 Phone: 215-766-0731

WOMEN ARTISTS OF THE WEST

WAOW GOES WILD The best of WAOW wildlife art - online only at waow.org

SECOND PLACE Georgene McGonagle “Forget-Me-Not” bronze 16” x 9” x 5.5” www.gmcgonaglestudio.com BEST of SHOW Deborah LaFogg Docherty “Wood Storks” pastel 20 x 24 www.lafogg.com

THIRD PLACE Linda Eppinger Johnson “Horned Toad Baby” watercolor 18 x 22 www.heirloomtreasures.net

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Artspan Studio Visit Richard Lewis

http://www.rlewisstudio.com/

http://www.rlewisstudio.com/

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Studio Visit Richard Lewis Learning to See

I have always seen my journey of painting for the last 25 years as slowly learning to see.

After getting my degree in architecture at SCIArch I decided that being able to do nice renderings for other architects might be a good may to make money when I have extra time. I chose watercolor because oils always seemed too smelly. I always liked cars so I started by painting a Ferrari and after a few hours it actually looked like a car. I had only bought a half dozen colors with about half being shades of red so my first series was Italian cars. Each one was took longer and was better than the last as I was more careful in getting details correct. So, I bought more paints and got bigger paper.

I do my paintings from a projected slide and at first I kept seeing anything or anybody in the reflections as a distraction to the car. Then I did “Duesy Chrome” and kept in the car reflecting in it. I felt this added to the painting. When I took my next photgraphs I tried to get certain reflections as much for the interest as the challenge. This lead to “XK120 on XK140”. Shortly after that I had twin boys and couldn’t paint for a few years.

But, the concept of the “Fraternal Series” where one car related to the other had to be reflected came to me.

This really narrowed down what I would take pictures of. I thought no one would want a Mustang reflected on a Rolls Royce.

Now my paintings have much less to do with the car than the reflections in the car. I am always looking to find interesting clouds, trees, other cars and people in the reflections when I take my pictures. All these reflections are what make the curves in the chrome and body of the car show off really well. I also look for reflections that go back and forth on each other. One of the challenges I have is getting the reflection look like the car with out getting too distorted. It is amazing how moving one inch can totally change the whole picture. I usually will shoot a dozen shots while just moving a tiny bit in each direction. It isn’t until I view the pictures on the computer that I really see some of the more interesting reflections that I hadn’t planned on capturing.

Now when I am driving I often find myself looking at reflections in the cars around me. I find it interesting to watch the reflections change as the cars go down the road. A partly cloudy day can make almost any car look beautiful to me. I don’t remember noticing reflections like this before I started painting. But now I feel like I see them all the time and really do enjoy them.

Right: DEUSY Chrome Left: DELAHAYE at the Eiffel Tower TOWER

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Studio Visit Richard Lewis

Above:E Squared Right: Bugatti Grille

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Studio Visit Richard Lewis

BUICK Hubcap

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Above:Wings on a ROADSTER Right: Alfasccd

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Studio Visit Richard Lewis

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MERCEDES Grill

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Studio Visit Richard Lewis

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My method of painting with watercolors is to layer the colors on. This meant that each previous layer has to dry completely or the next wet layer would turn the previous layer to mud. So, now I usually paint about 3-4 hours at a time and wait a day or two before the next layer goes on. I have as many as forty layers of colors to get to the blackest blacks. This gives large areas a much more dynamic look than just one quick dark layer. This method gives cloud reflections a great look in the reflections.

Before I took up painting I did some computer art. This was long before PCs or color printers were around. The only output was with a eight pen plotter. The only way to get multiple shades of a color was to tell the computer to draw multiple time in the same area. The computer had a pen stylus that I would trace over an area and tell it what color to fill in. When I started using watercolors I just kept thinking the same way and would first lay down a color that is lighter than weak tea and keep adding darker and darker shades where I wanted it.

The blackest areas have many layers and multiple color put in them.

I had fun with a recent painting and did a stop motion video of it. You can see it at https://www.youtube.com/watch?v=K-V1i9nUqBA And yes, I really did paint it in that order. It took 18 months altogether and is comprised of 800 pictures.

I hope you start seeing the way I see now.

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“Celebrating the stories and legends of Texas and the Great Southwest through original art, prints and books.�

601 E Hwy. 82 - Nocona, Texas 76255 . 940-825-7226 www.TexasTrailArtGallery.com . Facebook: Texas Trails Art Gallery Tuesday through Saturday 10 to 6 . Sunday 1 to 5 . Closed Mondays.

Judy Mackey

“Patience” Oil on Canvas

“Patience 2” Oil on Canvas

“Patience 3” Oil on Canvas

“Patience 5” Oil on Canvas

www.JudyMackey.com

Judy Mackey

“No Worries” Oil on Canvas

www.JudyMackey.com

Roberta McGowen

visualwestphotography.com

Visual West Photography

“Teamwork”

visualwestphotography.com

LADY L

Colors Make Me Happy

Daisy Pink 24 x 24 inches Acrylic on Canvas

ladylart.blogspot.com

ellepace.com/lady-l-artist

She began painting at age 2 on small pieces and by age 3 moved up to full size canvas. Lady L is the granddaughter of Texas Artist Laurie Pace.

VL Holiday Greetings From the Artists of Texas

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Poinsettias in White by Nancy Medina 12X16 oil

Poinsettias in White was created to celebrate the beauty of Christmas, white florals, pastries, twinkling lights, and all the joys of the holiday season.

Nancy Medina Flower Mound Art Studio Flower Mound, Texas http://nancymedina.com/

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VL Holiday Greetings From the Artists of Texas

“Peppy Poinsettia and Pine Cone” Amy Hillenbrand Oil

Sometimes the best Christmas presents of all come in the very smallest of packages. This little wee painting represents some of the small treasures of the season with red poinsettias, nature’s pinecones and a simple package. No bling, but a lot of spirit. www.amyhillenbrand.com

“Cold Snow” Barbara Haviland Oil

I painted both of the snow scenes because I like the snow and wish it would snow like this where I live.

Snow reminds me of the birth of baby JESUS.

https://barbara-haviland-art.squarespace.com/

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“Christmas Reds” Carolyn Hancock Pastel 8 x 8

Christmas Reds provided a head start on building a subscriber base for my first ever newsletter in January 2012. It was a “subscribe to my newsletter” giveaway that found its way to the home of a wonderful friend. http://carolynhancock.com

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VL Holiday Greetings From the Artists of Texas

“Christmas Wish” Cheryl J. Smith Oil on Canvas

This is a picture of my grandson; he was really trying to decide what he wanted for Christmas. He was a little nervous, but stayed there so he could tell Santa what he really wanted for Christmas. http://cheryljsmithfineart.com

“Santa” Debra Latham Santa is keeping an eye on the little ones because he’ll be making his list pretty soon. Let’s hope your name is not on the Naughty side. http://debralatham.com

“Cupid” Deran Wright

(Right)

The model was my son at age 3. It fits in with my general fascination with classic mythology. The arrow point is wickedly sharp, because sometimes, unfortunately, love hurts. It is 15” tall, and about 11” wide, on a 6” granite base. www.deranwright.com

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VL Holiday Greetings From the Artists of Texas

“In Emmy’s Room” Ed Crumley “In Emmy’s Room” was a painting I did for my granddaughter Emeline. I pulled together some of her toys and things around our house she liked to play with, and in the center, placed one of her baby photos. Some items were old Christmas toys. http://www.edcrumley.com

“Christmas Gift” James Loveless 16 x 20 Oil on Canvas

This painting is of my granddaughter. She was born around Christmas and we call her our “Christmas Gift”. http://www.jamesloveless.com

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“Little Red Poinsettia” by Joan Eure Picture it!! Holiday smells are in the air, as we are running here and there.

It brings lots of memories of childhood times. Grandma and Grandpa coming in with gifts and Christmas chimes.

Now the last gift is wrapped in gold paper, and is laid beside the burning tapers. Grandma opens the small gold package, with that beautiful red ribbon that matches. As she sees the small miniature painting, tears start to form in her eyes. She looks at me and said, this is the best surprise. http://joaneure.com/

“You Said You Wanted a Car” Janet Broussard http://janetbroussard.com

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VL Holiday Greetings From the Artists of Texas

“Poinsettia” Judy Mackey This painting of the poinsettia is rich with deep colors and texture. I loved painting this with thick layers of paint and the palette knife to give life to this Christmas flower. http://www.judymackey.com

“Christmas Ornaments” by Kristine Kainer Oil 6 x 6 inches The tree is finally decorated and a chill is in the Texas air! These vintage ornaments originally adorned my parents’ freshly cut Christmas trees over the years. Many broke and are memories in photo albums. A few survived, though--including these silver and red balls.

They now have places of honor in my home (and are carefully stored after the holiday season!). www.kristinekainer.com

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“Christmas Wreath� Judy Wilder Dalton

8 x 8 Oil on Panel This Christmas wreath was painted by memory in a very abstract impressionist style. I enjoy pulling the colors and shapes from memory to represent the emotions and feelings of the subject. www.judywilderdalton.com

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VL Holiday Greetings From the Artists of Texas

“Christmas Mansion” Kyle Wood 5” x 7” ,Oil

“Christmas Jewel” Kyle Wood (Right) 5” x 7” ,Oil

“Christmas Mansion” is one of favorite Christmas Scenes of all times. This is a local scene from my hometown in Terrell, Texas. Every Christmas for the past ten years or so, I have driven by this beautiful white mansion, decorated with Christmas Wreaths and Electric Candlers in the windows. The decorations are rather simple, but profound on this beautiful classical style home. Of course, I had add the snow to bring out the Christmas Spirit.

“Christmas Jewel” is a still-life painting of an ornament from our Christmas Collection. I loved how the glow of the Christmas Lights and nearby lighting from a closet played on this Jewel. Out of all the ornaments we have, this is one of my favorites.

www.kwoodfineart.com

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www.kwoodfineart.com

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VL Holiday Greetings From the Artists of Texas

“A Bright Moment on a Dreary Winter Day�

Patsy Lindamood Oil

Going through my painting images I came across this tiny red cardinal. With his bright red feathers, he stood out in the winter landscape and definitely cheered the silence with his presence. http://wildthingsartwork.com

Christmas Time, Melissa Torres Acrylic 8 x 8

Poinsettias are one of my favorite things about Christmas. www.melissaatorresart.com

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“Texas our Texas� Laurie Pace Photography

Most of my art is painting done with a knife and oil paint. As an artist I realized the importance of my camera in capturing the things to paint in the studio. This picture captured the beauty of a winter holiday in Texas. http://lauriepace.com VisualLanguageMagazine.com - VL Magazine | 113

VL Holiday Greetings From the Artists of Texas

“Forrest Santa” Leada Wood Watercolor

Forrest Santa was reproduced for my Christmas cards one year. I saw a big banner in a store and thought he was so cute and fun that I wanted to paint him. www.leadawood.com www.leadawood.com/blog

“Christmas Angel” Leada Wood (Right) Watercolor Christmas Angel was created for an exhibition at the Heritage Museum, with an angel theme.

I used an old masters angel and put it in a different setting. This painting is watercolor and gold leaf. www.leadawood.com www.leadawood.com/blog

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VL Holiday Greetings From the Artists of Texas

“Aspen Snow” Roseanne Snyder 18 x 24 Oil on Canvas

The silence of snow falling in this Aspen forest is the symbol of peace on earth. roseannesnyder.blogspot.com

“Special Delivery” Suzy Pal Powell Watercolor

Each year I try to do a new snow person Christmas card. I love bikes and I though a snow kid delivery a special gift would be a good idea. http://suzypal.blogspot.com

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“Blue Dachshund Christmas” Vernita Bridges Hoyt.

Watercolor and Ink, 9x9 inches

I paint homeless dogs to help various rescue organizations. “Blue Dachshund Christmas” was selected as the official Christmas card for Coast-to-Coast Dachshund Rescue (CCDR) in 2009.

This long-haired blue dachshund is celebrating a first Christmas with her new family. http://www.txsauce.net VisualLanguageMagazine.com - VL Magazine | 117

VL Holiday Greetings From the Artists of Texas

“Christmas Poinsettia” Barbara J Mason Pastel

In it’s center, beyond the Christmas Poinsettia’s extravagant leaves, you will see the hidden inner floral beauty of this plant magnified. www.dragonflystudiocreations.com

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“Jack in January Snow” by Rebecca Zook With the winter sun warming his fur, this jackrabbit bounds through a rare Texas snow on a crisp January morning. http://RebeccaZook.com VisualLanguageMagazine.com - VL Magazine | 119

VL Holiday Greetings From the Artists of Texas

“Tree Lot� by Kristine Byars Oil 12 x 16 inches

I still get goosebumps when I pass a Christmas tree lot at night. Like magic, the day after Thanksgiving, they pop up on some normally bare corner or parking lot, magically twinkling with loosely strung lights. A favorite family excursion! www.wildwood-studio.com

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“Poinsettia� Judy Wilder Dalton

8 x 8 Oil on Panel Finding Art in Life and Life in Art

This Poinsettia was painted by memory in a very abstract impressionist style. I enjoy pulling the colors and shapes from memory to represent the emotions and feelings of the subject. www.judywilderdalton.com VisualLanguageMagazine.com - VL Magazine | 121

Mary Jo Zorad contemporary fine art

“You Have the Power” 12 x 12 Acrylic

ZoradArt.com “Sedona” 16 x 20 Acrylic

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Barry Scharf

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The Artist and the Act of Spiritual Practice.

http://barrywscharf.squarespace.com/

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Barry W. Scharf

The Artist and the Art of Spiritual Practice

By Barry W. Scharf The devotion of the artist to his or her work has always been a topic worth pondering on a deeper level. We all have heard of the suffering artist and the commitment they make to become serious artists.

Many painters say that painting is a religious experience, that they compare the process of applying paint to a meditation.

Today it seems that much is done in the name of religion, some good and some bad, all to often the result seems to polarize humanity rather then join us together. I believe that what most of society longs for is a need to join together and it is often sought through religion and prayer.

For the purpose of this writing the concept of prayer is defined, as saying words of praise, request, and gratitude to whomever you believe is a higher power be it external or internal.

As an artist I find that the act of praying in many ways to be similar to that of painting with painting being the more productive, at least for me. The artist enters a meditative state in the act of painting and is often transported beyond what is being physically and intellectually expressed to an altered consciousness of being one with the work.

Parallels to the ritual of praying apply in the form of the aforementioned above. Praising to acknowledge the presence of “Oneness� beyond limitations of our physical flesh, to a deeper soul-self that is part of every living thing. Requesting or asking for something we need or desire; and showing gratitude for the things we now have and how they give us our health, wellbeing and livelihood.

In as much as I am speaking from personal experience, I can only assume that this may not be true for

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all artists as this topic relies on some form of belief beyond fact. If you can find some connection to what I am discussing and base it within your own belief system it may well be a universal experience regardless of religious dogma. To the artist that holds no belief system a concept of spirituality can still apply.

For me this concept begins with praise while stretching and priming my own canvas, honoring an old ritual in the creative process and making possible a place for an unfolding of consciousness to be expressed and evolve through paint. Choosing the color palette that will soon set the mood of expression and prepping the surface of the canvas to the correct textural bite upon which the brush strokes will fall.

At this point I am holding an intention of gratitude for my abilities, knowledge and confidence to execute the task of composition, content, color balance and emotional expression. Within each stroke of the brush I express gratitude and in so doing open my heart to the greater self beyond ego, to be able to focus on a complexity of what is often of symphonic proportions while allowing an uninhibited flow of the creative process to unfold through my painting.

I often paint with some abandonment of intellect, detached and trusting to that greater self that guides the brush. It is a process founded in years of study, ritual practice and training that allows for intuition to guide what would otherwise be limited by thought and intellect.

When starting a painting an intention to be available to a unique consciousness, to a process of watching as the painting comes together is possible. This sate of mind is like the ritual prayer found in most every religion. It is to suspend what is known to what is not yet known.

Heart with Taco by Barry W Scharf

Abstract 24 by Barry W Scharf

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Barry W. Scharf

City Interiors by Barry W Scharf

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With each new painting there is an excitement and apprehension. Will I be able to get to that special creative place again? Can I let go of self-doubt, fear and distraction that seem to fill my thoughts? My mind races with all the variables that can come into play; what is important and what is unnecessary?

With each new blank canvas I reset the inner mechanism and request the clarity of purpose, breathe slow and deep for several minutes allowing the mind to quiet. Stepping back or sitting in a chair looking at the large white surface I consider the new painting that will soon emerge. All that is needed is the right frame of mind to begin.

It is at this point that I under-paint words of praise, request, gratitude, peace and love to set an intention for this painting to give off energies of healing and wellbeing regardless of the subject matter that is painted over the words. It is my belief that in this way I send a silent prayer to all who view the artwork.

For me painting is prayer in action and the creation of positive energies unique to this artist.

Girl at an Exhibition by Barry W Scharf

by Barry W Scharf

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Artist Interview with David Kalbach

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http://www.kalbacharts.com/

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http://www.kalbacharts.com/

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Artist Interview with David Kalbach

When did you realize you loved art and wanted to be an artist? When I was a child I loved to draw pictures of airplanes, cars, boats and people. My father, while not a practicing artist, was very proficient with artistic skills as was my grandfather. They set an example or had a skill level which I desired to emulate.

Who has been your mentor, or greatest influence to date? The most influential mentors have passed away. Louise Selin in high school (basic design), Bill Bacus (graphite and design) in Community College and Howard Warshaw (acrylics) at the University of California, Santa Barbara. Later in life, Margot Schulzke (pastel) and Nita Engle (watercolor).

Who is another living artist you admire and why? While I am not a “wild life artist” Robert Bateman is inspirational in his use of acrylic and his devotion to wildlife and conservation. He has a “life” ethic which sets a great example for others to follow. I also enjoy the works of Larry Rivers (who passed away in 2002).

What is your favorite surface to create work on or to work with? Describe it if you make it yourself. Arches 140# Cold Press and Hot Press paper and board for water media, Rieves, & PastelMat for pastel and Hardboard or Linen Canvas for oil and acrylics painting.

What are your favorite materials to use? No favorites.

Do you have a favorite color palette? My base color upon which I depend is PAYNES GREY. The balance of my basic pallet consists of French Ultramarine Blue, Brown Madder, Antwerp Blue, Cerulean Blue, Cobalt Blue, Bismuth Yellow, Aureolin Yellow, Cadmium Blue, Burnt Sienna and Cadmium Red Medium. Other hues are used as needed for a particular project.

In pastels, I prefer hard pastels for initial work and finish off with Great American, Terry Ludwig, or Schmincke soft pastels.

How often do you work on your artwork? How many hours a week? This would be difficult to calculate. Working is a matter of focus. When you’re on it can go on over 8 hours a day until you finish….but then concerns about client expectations can become more than a bump in the road as you try to deal with a solution and “artist block” and refrain from starting a new project.

What is the one thing you would like to be remembered for? Not art. I want to be remembered for the successes of my children.

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Hornet Sunset

http://www.kalbacharts.com/ Gasing Up

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Artist Interview with David Kalbach

U2 Gittens

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There are many culprits that can crush creativity, such as distractions, self-doubt and fear of failure. What tends to stand in the way of your creativity? The mystery and concerns about meeting the expectations of others .

How do you overcome these obstacles? I still struggle to find the means and ways to attack these obstacles.

What are your inspirations for your work? The passions relating to the activities of those in the famiy, their children and friends. There is a special interest in the activities of those who have dedicated their lives to others. That is probably one of the main reasons I have taken up the task of painting friends of my son who are active in the military.

What is your favorite way to get your creative juices flowing? I have two ways I address creativity. The first is through association with other working artists where you can spend quality time reviewing ideas and philosophies associated with esthetics and addressing problems which I want to address or explore – whether design issues or other messages one would wish to address through their art.

The second method involves reviewing works of authors addressing issues, photographs which I have taken and added to my file of “scrap” and working on thumbnails set to music.

Which work of yours is your favorite? This is difficult.

Right now my favorites would be: 1.

Navy Male (watercolor, a portrait of a navy pilot) 2.

U2, Gittins ( watercolor, a portrait of a U2 pilot, Justin Gittins) 3.

Contemplation (oil, two life figures) see web site, Figures section.

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Artist Interview with David Kalbach

In the Pattern

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05 Filler UP

Sea Stallion Refueling

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Artist Interview with David Kalbach

Go Shawk

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Getting to know you Q&A What is your favorite color in your closet? Blues What book are you reading this week? Ben Carson. M.D. author. His book ONE NATION Do you have a favorite television show? BLUE BLOODS or sports – Premier Soccer What is your favorite food? This is difficult to answer as my favorite tends to change depending on the available menu. My favorite meal can be found in causine of Central Mexico, Northern Italy and Thailand. When I cook, my favorite fare would be a seafood pasta. Shrimp, mussels, calamari, and scallops sauted in a white wine bisque along with garlic, green onions, red and yellow peppers, some jalapeno and habanaro, sun dried tomatoes and broccoli.

What color sheets are on your bed right now? Cadmium Red Light bottom sheets with Ivory Top Sheet.

What are you most proud of in your life? Our children and the road upon which they are traveling.

Who would you love to interview? Barack Obama. Though it would probably pretty hostile.

George Bush.

Do you have a passion or hobby other than painting? Yes. What is it? Soccer. I coached soccer while my children were growing. We were pretty successful so I continue to enjoy professional games.

I am also the Treasurer of the Pastel Society of the West Coast. I enjoy working with other artists in pushing programs to promote the exucation of future artists.

Who would you love to paint? Just about anyone with real character. How about Obama? Perhaps Ben Carson or Dennis Prager. Just about any person except children. (I love kids – it’s just to difficult to get them to sit still.

If you were an animal what would you be and why? Probably a dog. Would enjoy the companionship with a dog lover.

If you were stranded on a desert island and could only take three things, what would they be? My spouse, My art materials, and some clothes.

If you could live anywhere in the world, where would you live? Most any where. Love Germany, Northern Italy, England, Northern California, New Mexico, San Diego, Life is wonderful

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Lisa McKinney

Lisa-McKinney.com lisamckinneyartprints.com

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WINTER THEMES “Can’t See the River for the Trees” 24” x 18” “Spring Thaw” 16”x20”

RebeccaZook.com www.facebook.com/RebeccaZookFineArtPaintings rebeccazook.blogspot.com

“Jack in January Snow” 11” x 16.5”

Palette Knife Painters

Paletteknifepainters.blogspot.com

Paletteknifepainters.org

Kimberly Conrad “Pouring Color Into Your Life”

KimberlyConradFineArt.com

“Blazing Sky Reflected III” 28”x45”x1.5” Poured Acrylic on Canvas

KimberlyConradFineArt.com

DAILY PAINTERS ABSTRACT GALLERY DailyPaintersAbstract.blogspot.com

Carol A. McIntyre “Floating Winds, “ 28x21, Oil on Canvas

DailyPaintersAbstract.blogspot.com

DAILY PAINTERS ABSTRACT GALLERY

DianeWhitehead.com

Diane Whitehead “Animals are my muse. The scratch of the paw, pounce of a hoof, gesture of the head, alert ear, quiet stride, powerful shape, ancient wisdom.

All come to play with the shapes I see as I paint.�

DianeWhitehead.com

Barbara Haviland Barb’s Garden Art

barbara-haviland-art.squarespace.com BarbaraHavilandFineArt.com barbsgarden.blogspot.com

CFAI.co December Artist Showdown

Denise Bossarte

Photography

www.cfai.co/#!artist-showdown/chic

cfai.co

Winter 2014 Juried Competition

still life

Carol Smith Myer

-$500 in total cash prizes -Inclusion in the end of show video -Featured in the 2015 Collector’s Book + MUCH MORE! www.cfai.co/#!juried-shows/c19ne

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VL VL

Vincent Wray

NOT SURE IF WE TURE FOR HERE>

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HAVE A FEA>

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Vincent Wray

Getting verbally tactile with the Graphically-Organic abstract work of Vincent J. Wray

By Angela Hardy

I want to introduce you and give you the opportunity to meet artist Vincent J. Wray and see his work. A melding of styles that gives a graphically-organic visual and tactile feel to his sensational abstract works.

He is an amazingly brilliant designer, marketing expert by trade, xwrayvision.com, but his hands-on passion lays within his brilliant multi-techinique, mix-media abstract creations.

Upon large gallery thick wood panels, Vincent meticulously builds layers of paint, varnish, mix-media materials, sands, grinds, cuts into, blow torches, and will even pour gasoline over or pile other materials such as dried leaves, papers, other materials over top proceeding to light them on fire, dousing them, allowing their underlying process to manifest in an almost sacrificial process. Unveiling themselves to becoming fate driven masterpieces.

I am entranced, gripped, with a wanton desire to explore up close the depths of intrigue held in Vincents work, and hope you will be to.

Vincent, after years of cultivating this amazing technique and skill, has began to show his work to the public for public purchase and collection. I can say with hand to heart and creative soul that Vincent is going to become a very well known name in the art world. vincewray@xwrayvision.com Road map 24x48�

Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match

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Vincent Wray

Burn Squared Series - Honey Rush 24x48�

Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match

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Vincent Wray

Burn Squared Series - Red Push 24x48�

Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match

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Vincent Wray

Fly Little Piggy 24x48�

Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match

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Kill the Bunny 24x48” Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match

Twelve Streams 24x48” Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match

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Alejandro Castanon

www.vinodipinte.com Vino Dipinte Art Gallery

602 Orient St

San Angelo, TX 76903

alejandrocastanon.com

KRISTINE KAINER

www.kristinekainer.com www.kristinekainer.blogspot.com

Texas Art

www.kristinekainer.com www.kristinekainer.blogspot.com

Artists of Texas

artistsoftexas.org

NO WHERE BUT TEXAS

artistsoftexas.blogspot.com dailypaintersoftexas.blogspot.com

Felicia Marshall

“Dressed Up”

“Alone”

Left page: “Sunshine on Hope”

FeliciaMarshall.blogspot.com

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Advertisers Aixa Oliveras 29 Alejandro Castanon 166-167 Amy Hillenbrand 102 Angela Hardy 64-73 Artists of Texas 100-121, 170-171 Barbara Haviland 102, 152-153 Barbara J. Mason 118 Barry Scharf 124-129 Bob Coonts 58 Burneta Venosdel 79 Carol Engles 59 Carol Jo Smidt 15 Carol Smith Myer 155 Carolee Clark 174 Carolyn Hancock 103 CFAI 28 Cheryl J. Smith 104 Connie Dines 60-61 Daily Painters 174-175 Daily Painters Abstract Gallery 148-149 David Kalbach 130-139 Davis & Co Art Gallery 56-57 Dawn Reinfield 148-149 Debora Latham 104 Deborah LaFogg Docherty 78 Denise Bossarte 154 Deran Wright 104-105 Diane Whitehead 150-151 Ed Crumley 106 Elaine Vileria 74 Felicia Marshall 172-173, 174 Georgene McGonagle 78 Isabelle Gautier 26 James Loveless 106 Jana Kappeler 9 Janet Broussard 4, 107 Joan Eure 107 John Whitton Bria 22-23 Jonelle T. McCoy 14 Judy Mackey 94-95, 108 Judy Wilder Dalton 24, 109, 121 Kathleen Kirch 79 Kay Wyne 174 Kelley MacDonald 175 Kim Roberti 175

Kimberly Conrad 146-147 Kristine Byars 120 Kristine Kainer 108, 168-169 Kyle Wood 110-111 Lady L 98-99 Laurie Justus Pace 62-63, 113 Leada Wood 114-115 Lelija Roy 25 Leslie Sealey 27 Linda Eppinger Johnson 78 Lisa McKinney 140-141 Logan Bauer 18-21 Mark Schwartz 174 Mary Jo Zorad 122-123 Mary Lou Pape 79 Melissa Torres 112 Michal Ashkenasi 16-17 Mirada Art Gallery 12-13 Nancy Medina 101 Nathalie Kelley 177 Palette Knife Painters 144-145 Patsy Lindamood 112 Pokey Park 79 Rainer Andreesen 3, 34-55, 57 Rebecca Zook 119, 142-143 Reenie Kennedy 79 Ria Hills 175 Richard Levine 8, Richard Lewis 80-91 Roberta McGowan 10, 96-97 Roseanne Snyder 30, 116 Sanda Manuila 75 Sara Genn 11 Scott McIntire 76 Susan Ketcham 77 Suzy Pal Powell 116 Texas Trails Art Gallery 92-93 Theresa Paden 175 Valerie Travers 32-33 Vernita Bridges Hoyt 117 Vicki Rees 31 Vincent Wray 156-165 Vino Dipinte Art Gallery 166-167 WAOW 78-79

Nathalie Kelley

“Christmas Candy” 8 x 10

“Blowing Off Steam”

nathaliekelleyart.com

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