Visual Language contemporary fine art
features Rod Seeley Corey West Watson Birgit Huttemann-Holz WAOW San Deigo Barry Scharf Alison Woods Venessa Katz
June 2014 Volume 3 No. 6
Judy Wilder Dalton http://judywilderdalton.com/ VisualLanguageMagazine.com - VL Magazine | 1
VL visual language contemporary fine art
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VL Cover Artist
Judy Wilder Dalton Finding Art in Life and Life in Art
â€œI believe there is a strong human response to color and that it reflects and affects our moods. My painting begins with a broad wash of color and rhythms. I establish a strong design structure and color harmony. Each layer reveals more forms and shapes. The use of lines and textures add intrigue and interest to the surface. My intention is to keep the elements universal and invite the viewer to experience it on an emotional level as well as visually. Even when I make a choice to use a subject such as a still life, landscape or figure, the elements of form, line, color and texture are my focus. I love the delicacy, vigor and beauty in them apart from the subject. My style in expressionist to impressionist, with bold and vibrant colors. My mediums include, but are not limited to, water-media, oil, and pastel.â€?
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Connie Dines Artful Exposures One Frame At A Time
Top to Bottom Left: Agave 1, Agave 2, Agave 4
Right: Agave 3
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content Cover Artist Judy Wilder Dalton
Bringing Art to Life and Life to Art
Painter’s Keys - Robert Genn 11 VL Artists to Collect - 16 Simon Kenny, Kimblery Conrad, Ines Fugina Malnar, Janine Kilty, Melissa Doron, Suzy Pal Powell
CFAI Colors on My Palette 44 Arlene Woo
Read the up close and personal interviews from CFAI.co Find out more about the artist, their inspirations and how they approach their work.
VL Studio Visit with Rod Seeley 54 The first question I’m asked when someone views my art is ”how did you do that?”... Quickly followed by a puzzled look of disbelief when I attempt to explain the process and show them the “original” piece of Fractal Art used to create my unique style of artwork.
VL Studio Visit with Corey Watson 70 “It sounds so clichéd to say that I was practically born with a brush in my hand, but it’s the truth,” says Corey West Watson. Throughout a childhood spent drawing and painting, Watson knew she wanted to be an artist. But she had little idea what such a calling would entail, or how the journey would test her to her limits.
VL Artspan Studio Visit with Birgit Huttemann-Holz 82 It is still frigid outside, a city frozen almost solid. I open the door to my sanctuary, turn on the light, plug in my electric tools, and turn on the heater. I connect my IPod, listen a moment to myself, select the music and turn up the volume. Ready! I step into the U-form of my working space. VisualLanguageMagazine.com - VL Magazine | 5
WAOW San Diego 100 It takes the energy of an Olympic gymnast for a woman to reach for the highest quality attainable in the visual arts, to stretch themselves to achieve that excellence. Painting, drawing, sculpture—all take time and perseverance to master. For women, whose workday does not end when they return home to become the mother, the housekeeper, the wife, and sometimes nurse, finding time for their art often means walking that narrow balance beam between ‘creative time’ and ‘family time’. .
Barry Scharf 114 Abstraction This is a question that has at one time or another been on the mind of every artist that is confronting a blank canvas. Some know exactly what they will do before they start others start and find the answer within the moving strokes of color and random forms that emerge within the action of events.
ARTSPAN.com New Works - 120 Do not miss the new works posted every day on Artspan.com. Enjoy the works of Alison Woods.
VL Studio Visit withVanessa Katz 124 Vanessa Katz was born and raised in England and now resides in Palm Desert, California. At an early age she was always fascinated with color and began painting as a teenager.
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Artspan Spot Light Nancy Bossert 136 Who has been your mentor, or greatest influence to date? I cannot say one in particular. Everyone I come in contact with I can learn something from. This can be from the very young to the oldest. However I had one graduate instructor who could put what I was seeing into words and that was Dorothea Builder.
CFAI.co Showdown Mixed Media, Encaustic and Digital Art 152 First Place Arlene Woo Second Place Donna L Martin
VL Artspan Photographer Robert LeBlanc 164 Each of photographyâ€™s many genres presents challenges. Of the many genres I have engaged, from street photography to metaphoric art, the most challenging and rewarding has been wildlife.
Directory of Artists and Galleries 182 In alphabetical order you can easy find all featured artists and advertising artists, along with featured galleries in our index directory.
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Artist of the Day “Art is not what you see, but what you make others see.” ― Edgar Degas
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Mary Ann Cherry I was raised in rural Montana near the Yellowstone River and loved it there. My folks were big Charlie Russell fans – it helped to boost my interest in western art at an early age. Mom gave me a paintbrush and small oil painting set when I was eight. Dad was always sketching horses, especially buckin’ broncs, rattlesnakes and a lot of other non-girly things for me on newsprint from an old pad of paper.
artistofthedayvl.blogspot.com If you want to be featured as an Artist of the Day, contact Visual Language Magazine. VisualLanguageMagazine@gmail.com
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Carol Jo Smidt
â€œThe White Horseâ€?
16" x 20"
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VL visual language magazine Contemporary Fine Art
Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Contributing Editor Lisa Neison-Smith Consulting Editor Nancy Medina Feature Contributor Robert Genn Painterâ€™s Keys CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II Feature Contributer Barry Scharf VL Sponsor ARTSPAN Eric Sparre Advertising Contact: VisualLanguageMagazine@gmail.com Marketing and Development Executive Director Business/Management Stacey Hendren All Artwork is Copyrighted by the Individual Artists. Visual Language Vol 3 No 6
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Conundrum On Sunday afternoon Sam Bray and his family visited from Perth, Australia. Sam’s a tall, bright-eyed young man, about 16 years old, who studies fine art, computer science, drama, literature and physics, speaks Japanese, and plays bass saxophone in his school band. Among other things, Sam showed me a recent digital video he produced, wrote, scored and animated. The two-minute piece has won plaudits Down Under and now seems poised to invade Asia. It was Sam’s first fully digital piece. “The thing didn’t take any time at all.” said Sam, “Less than a day. And that’s where I’m having my trouble with it. It seems to me that something like this should have taken more time, more thought--at least a little bit more slaving.” “Slaving does not a masterpiece make,” I told him, “but it sometimes helps.” It’s a conundrum that exists in all creative media. Picasso was a thoughtful and careful guy, to the point of spinning out reams of sketches and “rehearsals.” But he could still finish four decent-sized oils before stepping out into the Rue Maupassant for breakfast.
The Painter’s Keys - Robert Genn
The Painter’s Keys Robert Genn
Robert Genn’s Studio Book
Every artist who ever lived is familiar with both the slaved-over abomination and the seemingly tossed-off masterpiece. Digital work undoubtedly has different pitfalls than a plein air landscape, but I’m willing to bet it has similar antidotes: Planning, improvisation, essaying (trying different ploys), rescaling, understating, flair, style, surrendering to outrageous technology, the power of boldness, avoiding the obvious, varying a theme, surprising the eye, repeating a motif, multiplicity, inventing, taking the pause that refreshes, abandoning (temporary and permanent), beginning, beginning again, beginning again again, getting excited, loving the stuff, etc. No matter what your disciplines, you need your own personal lists. Regarding digital, to get an idea of the pitfalls that might be spread out ahead, as well as the unmitigated fun you’re likely to have, you may need to talk to someone like Sam. Perhaps you have some suggestions for him. Best regards, Robert PS: “Boldness has genius power and magic. Engage and the mind grows heated. Begin, and the work will be completed.” (Johann Wolfgang Von Goethe) Esoterica: Antidotes--call them preferences if you like--can only be utilized by “the fine art of actually doing.” Keep doing it and you’ll gradually begin to feel less guilty. Keep doing it and you’ll fall in love.
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Valerie Travers Working in Acrylic, Oil, Pastel, Mixed Media Landscapes, Seascapes, Abstracts, and Florals
“Painting is a reflection of who I am and what I feel most deeply. Bluebell wood is one of my favourite subjects and I am compelled to paint it time and time again. In my mind it signifies freshness and new beginnings..”
ValerieTravers.com Spring Optimism” - Acrylic on Canvas, 30” x 24”
Terrye Philley Gulf Coast Artist
On to Distant Shores Oil 11 x 14 inches
Linda McCoy Linda McCoy Studio/Gallery
Gallery/Fine Art Instruction 209 S West Street, Mason, Ohio www.lindamccoyart.blogspot.com
clairebullfineart.com www.davisandcompany.squarespace.com/artists/#/linda-mccoy http://fineartamerica.com/profiles/claire-bull.html
VL Ines Fugina
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Suzy Pal Powell
Artists to Watch and Collect Simon Kenny Kimberly Conrad Ines Fugina Malnar Janine Kilty Melissa Doron Suzy Pal Powell Melissa Davis Doron
Visual Language Magazine Featured Artists this month delve into the beauty of each of the six different artists and their unique approach to creativity. Simon Kenny is celebrated internationally for the passion in his abstract paintings. Kimberly Conrad pours color into your life with her unique canvas pours. Ines Fugina Malner felt limited with 2D sketching and now creates expressive paintings. Janine Kilty nutures emerging stories on her canvas. Melissa Doron has stepped out of her studio and taken on representing other artists with Davis and Co Fine Art Gallery. Suzy Powell started with doll clothes and found the celebration and the vibrancy of life with her mixed media work and watercolors.
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Abstract Paintings Simon Kenny is a multi-award winning artist, celebrated nationally and internationally for his vibrant, expressive paintings. His work is praised as being dramatic, atmospheric and totally captivating with a style is best described as ‘lyrical abstraction’. Simon’s technique encompasses brush and palette knife work, subtle under-painting and graduating alterations in colour. Characterised as a ‘radical Turner’, in recent press coverage he has attracted significant attention for his growing collection of colour burst oil paintings. Simon’s fascination with the world around him clearly manifests itself through his work, yet no piece is ever site specific. His aim is for the viewer to connect personally with each composition - to be reminded of a place they once knew, or visited by an unexpected moment of emotion. Born in 1976 in Dublin, Ireland, Simon discovered his love of art at a young age. Following his natural artistic instinct he acquired techniques and preferences which he relates through his work. His personality is a big part of his work, and as he starts on a new painting he embarks on a personal journey through a host of emotions, all carefully considered and expressed through both colour and form, offering the viewer a direct visual connection to his mind set. Left:Core Center: Essence Right: Rise
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With accolades such as a young master and a radical turner Simon Kenny is an internationally recognized artist specializing in abstract canvas paintings.
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Abstract Paintings “Art and music are to my soul, as food and water are to my body. I believe that they are two of God’s most precious gifts to His children. As the author and giver of creativity, through these gifts, He has given us a portion of Himself. He created the very first canvas, magnificently painted it, and brought it to life.” Kimberly is a full time artist, dividing her time between painting and teaching in her Denver Studio. The artist considers herself to be an Abstract Expressionist, or more accurately, an Action Expressionist, as she is most definitely an “action painter”. Her preferred application, used in her non-representational abstracts, landscapes, seascapes and aspens is to “pour” her paint, manipulating the flow with water and body movement. She uses no brushes, other than to tone her canvas before pouring. Kimberly’s work can be found in private and corporate collections, hospitals, hotels, resorts, restaurants, and most recently, motion pictures. Kimberly is the founder of Daily Painters Abstract Gallery, Daily Painters of Colorado, and co founder and CEO of Contemporary Fine Art International. She is also an internet art marketing coach and teacher. Right Page Top:A Beautiful Storm 24 x 36 Right Page Bottom: Sky in Motion 24 x 36 Left Page Below: Dreaming 36 x 48
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In December 2013, Kimberly opened Kimberly Conrad Contemporary Art Gallery In downtown Denver, in a beautiful old boarding house built in 1906. Shortly after opening the gallery, she rented an additional space just across the hall to use as her studio. Both spaces overlook the 7th Avenue restaurant district,and provide beautiful city views. She now paints teaches and hosts workshops by other artists in the new studio.
Left Page Bottom: Royal Wave 30 x 24 Right Page: Kimberly Conrad and the Gallery
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Ines Fugina Malnar http://inesfugina.artspan.com/
Shades of Gold – Living Art - Intuitive Abstract Painting of Inner Landscapes I love art. I love expression. And I always admired painters but couldn’t draw anything more that 2D sketches. So I never tried. But a few years ago some abstract images started to come out through me: and all of a sudden I knew exactly which paper to buy, which color to take and where to put it - it was the kind of certainty one would like to have with everything in life. And I realized I was actually painting. And that the time I spent doing that was the time I was very close to myself, to the part of me that is closest to my true self, that has no masks, disguises, manipulations, the one that does not need to play games to be real. Becoming a painter was very much a part of my personal growth and transformation. At first I didn’t know what to do with the paintings - in the process of making them I liked them strongly but after that they became strangers. But as time went on, that creative part of me anchored deeper and I began to feel, love and honor them. I realized that they are alive, that their vibration contains some profound universal energy that resonates with ones soul, spirit and pristine being. Once a lady came to choose a painting for herself and finding it she said: “I know this one!” I thought she had seen it in a shop but she said, “No, I’ve seen it in my soul”. Through painting I remember the magic of being human, the beauty of being divine, the innocence and playfulness of expressing and creating, the gift of living art and sharing it. http://inesfuginamalnar.crevado.com/ http://inesfugina.com https://www.facebook.com/ines.fugina
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Sound of Creation
White Woman Under Golden Veil
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Emerging Stories Janine Kilty is a Cape Cod artist who specializes in realistic paintings in oil. She has trained at the Pennsylvania Academy of The Fine Arts and in the atelier of master artist Wade Schuman (New York City). Her work has been exhibited in galleries and public spaces in New England, Middle Atlantic and western New York, and hangs in private collections around the world. Mrs. Kilty has shown paintings in national exhibitions and competitions and has won prizes. Artist’s Statement: I work in a realistic style that draws on my atelier studies to create contemporary works that have been described as evocative and engaging. I am especially inspired by the works of Velasquez, Sargent, Sorolla and Beaux. To me, every image is a narrative: not only genre scenes, but still life and portrait, as well. Sometimes the story is obvious, sometimes it is enigmatic. Often the story that emerges in a painting surprises me. With portraiture, I strive not only to capture the likeness, but also to find the “story”: the spark of personality, the force of experience and the promise of things to come. Like a story, I believe a painting is only completed with the engagement of the viewer. Right Top: Companions Left Below: Abbey Road Center Below: Nocturne Right Below: Park Street Dream
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“The Timeless Tapestry” by Lesley Humphrey
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Davis & Company Contemporary Fine Art www.DandCgallery.com
The Spirit of Art As an artist it’s always been my dream to open a gallery.
With the help of my wonderful brother David as my partner, we’ve done just that. We have chosen 40 of the best artists around the world to display at Davis & Company and are so glad to have such a magnificent gallery space in which to show them. People keep asking me if my own art is in the gallery to which my reply is yes. I currently have five pieces exhibited in Davis & Company. I feel very lucky to have realized my dream at such an early age and to have so many talented artists to show with Davis & Company. My journey in life has brought me to this place in my life where I get to experience the joy of painting and the satisfaction of showing the work and getting to hear the feedback from the public at the same time. After hosting the Rites of Spring Exhibition for the Artists of Texas, an overwhelming amount of people are drawn through the gallery and it’s so exciting to be able to discuss art with serious collectors. Art consumes me; I love my place in the art world and all the artists I get to work with on a daily basis. I cannot wait to see what each and every day brings for us at Davis & Company.
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"Art is subjective. Not everyone will like your work but if you love it then everything else will fall into place." -Melissa Doron
The Peacock Tree
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Suzy Pal Powell
The Spirit of the Paint Before ever starting to school, Suzy Pal was making and creating things—embroidery and doll clothes. She had always drawn and doodled on everything in the house. Her studio is in Yoakum County, 4 miles from Plains, TX. She never had any art in school, nor did she go to college. Having lived in the same house now for 39 years...She grew up all over the West Texas area, moving every year, with no place to call home, married at 17 and has a wonderful husband and family of a son and daughter, and 4 grandchildren. In 1982 in her mid 30’s the desire to paint finally won out, and she started out with oils. After realizing she was allergic to the oil paint she changed to pastels and pencil. Watercolor had always been her favorite so she finally started working with them in the 90’s. Favorite subjects vary. She paints whatever brings excitement to her, especially loving western art, and old vehicles. Nostalgic type subjects. She paints mainly with watercolor on traditional watercolor paper, but has started using some of the different synthetic papers and also branching off with acrylics and gouache as well as torn paper collages. The torn paper pieces have done really well, being accepted in shows, and in a North Light art book. As well as some being licensed. In January of this year, she decided to try the duo oils, using water for clean up due to the allergy problems. So far it has been good. She has been featured in Watercolor Magic Magazine website three times, and Artists Sketchbook Magazine with some of her sketches. She was also featured in North Light Magazine twice with her Christmas designs and once with a postcard design. ‘The Artistic Touch 4, 5, and 6’ by Chris Unwin. ‘Incite, Dreams Realized’ by North Light Art Books. Also, The Colors of Texas, The Artists of Texas. Her work was featured on Historical Society of Plains Calendar Cover for 2002, and also the cover for Lea County Electric annual report. She also painted western and Christmas scenes to be used as labels for Coffee City USA in Tyler, TX. She has designed the Yoakum County Connection T-shirt Design for 2002- 2005. A “One Woman Show” at Barnes and Nobles Bookstore in Lubbock, Texas in December 2003, and then again in July 2004. She had 2 solo shows at Asbury Gallery in Lubbock in 2005. Another one woman exhibit at the Clovis Community College 2010 Clovis NM. Also, in many juried shows. She has signature status with Southwestern Watercolor Society, Wyoming Watercolor society and Artist of Texas.
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She signs her paintings Suzy Pal (instead of Susie Powell) and stays busy painting as much as possible in her studio in her back yard in Plains, TX. She also teaches and is available for workshops. She can be reached at email@example.com and her website address is www. suzypal.com. Blog address is www.suzypal.blogspot.com, and you can see a lot of her work at www.bluecanvas.com/suzypal.
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Suzy Pal Powell
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Riding the Circuit
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La Jolla . Santa Fe . San Diego . Denver . Scottsdale . Napa Valey . Walnut Creek . Lagua Beach
Resting Sky 48” x 48” Mixed Media made with Textured Marble Dust Plaster
STEPHANIEPAIGESTUDIO.COM Visit Stephanie’s Representing Galleries
NEXT SHOW is at Pippin Contemporary on June 20th, 2014 Mirada Fine Art Gallery . Denver, CO. Ph.303-697-9006 Calvin Charles Gallery . Scottsdale, AZ . Ph.480.421.1818 Pippin Contemporary . Santa Fe . Ph.505-795-7476 Contemporary Fine Arts Gallery . La Jolia, CA. Ph.858.551.2010 Christopher Hill Gallery . Napa Valley, CA. Ph. 707.963.0272
Nevermore 18 x 24
Contemporary Realism and Beyond Visit my Website:
Abstract/Realistic Drawing and Pastels
contemporary drawing elainevileria.artspan.com
The Last Season Oil on Canvas 22 x 28
Sanda Manuila sandamanuila.artspan.com
Phyllis Mantik deQuevedo
Tulip Pose 6”h X 6”w X14”d
“A Work In Progress” mantikstudio.com
Florescence 15”h X 10”w X 12”d
M’Lady’s Slipper 10”h X 14”w X 10”d
7”h X 23”w X 8”d
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DAVIS&CO f i n e a r t g a l l e r y Established by David Davis and Melissa Davis Doron, the mission of Davis and Company, Contemporary Fine Art, is to inspire our collectors and guests with original works of art of the highest possible quality and to create an upscale, engaging gallery where artists of paramount caliber can exhibit and sell their works of art.
fine art gallery
CFAI.co Colors On My Palette
Arlene Woo http://arlenewoo.blogspot.com http://www.cfai.co/#!colors-on-my-palette-interview/cy2z
When did you realize you loved art and wanted to be ‘an artist’?
I’ve always liked art, but I did not start painting in earnest until about fourteen years ago. I am a late bloomer.
Who has been the greatest influence from your past to mentor you to this career?
I grew up surrounded by paintings because my grandfather Harry Anthony DeYoung was a professional artist , and we had his paintings all around the house. I never thought I could be as accomplished as he, but I developed such an appreciation for art that my mother and grandmother were afraid of how I might critique art exhibitions we attended when I was young.
Who is your mentor today, or another artist you admire and why?
I’m not sure I would call him a Mentor, but George Woollard, a Hawaii artist, has greatly influenced me. He has nudged me in new directions.
What is your favorite surface to paint on? Describe it if you make it yourself. Fabriano watercolor
What brand of paints do you use? Primarily Daniel Smith
Do you have a favorite color palette?
I love New Gamboge, blue greens, and Permanent Brown
What is your favorite color in your closet?
If someone looked in my closet, I don’t think they could pick out one favorite color. There are couple of colors that are definitely missing: green and ochre.
What subject appears the most in your paintings and why?
I like to include hidden images in my abstracts. In addition, I like to paint koi, seascapes and animals.
How often do you paint? How many hours a week?
Once or twice a week!? As a result, I often feel like I’m starting all over again.
How would you like to be remembered?
I’d like to be remembered as an honest, thoughtful person.
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LEVINE RICHARD LEVINE Pastel Painter - Landscapes Real and Imaginary
www.richardlevine.net Email: firstname.lastname@example.org
CAROL BRODY ART
Imagining in paint, photography and wax.
“Bold Gets Soft”, No. 1
“Pastel Grid” No. 1
Collectors Discover New Art Daily. International Voices - Speaking Through Art
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Roseanne Snyder Diversity in Texture and Composition
Snowfish 20 x 24
Jonelle T. McCoy Oklahoma Equine Artist Your Equine Art Connection
“Heart of the Matter” "Blooming Everywhere" Acrylic on Gallery Wrap Canvas
Eric Bodtker ericbodtker.com
Victoria Pendragon “Wordscapes”
VL Rod Seeley Stylized Digital Fractal Art
VL Studio Visit
Stylized Digital Fractal Art Creating a New Art Form. The first question I’m asked when someone views my art is ”how did you do that?”... Quickly followed by a puzzled look of disbelief when I attempt to explain the process and show them the “original” piece of Fractal Art used to create my unique style of artwork. Although I’ve always had a creative nature and was an award winning Creative Director of an ad agency in the 1970’s, I never really considered myself to be an artist since I couldn’t really draw all that well and certainly couldn’t paint to save my life. In 2010 for fun I decided to experiment with several different digital paint programs. Well known (Corel Painter) and a few lesser known but easier to use programs. My early pieces were a combination of digital art mixed with digital paint techniques which I reproduced on canvas (gliclee). Although they looked great it didn’t really allow me to be as creative as I wanted to be. Sometime in 2011 by accident I discovered Fractal Art. At the time I had no idea what fractal art even was or how it was created. Here is a brief description of the background of the art. “Fractal art is a form of algorithmic art created by calculating fractal objects and representing the calculation results as still images, animations, and media. Fractal art developed from the mid-1980s onwards. It is a genre of computer art and digital art which are part of new media art. The Julia set and Mandlebrot sets can be considered as icons of fractal art. Fractal art (especially in the western world)
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is not drawn or painted by hand. It is usually created indirectly with the assistance of fractal-generating software, iterating through three phases: setting parameters of appropriate fractal software; executing the possibly lengthy calculation; and evaluating the product. In some cases, other graphics programs are used to further modify the images produced. This is called post-processing. Non-fractal imagery may also be integrated into the artwork.” – from Wikipedia. There are a number of outstanding Fractal Artists around but nearly all stop where I start because in general fractal art is very detailed and has a distinct computer generated algorithmic look. I use at least 6 different fractal software programs to create my “Original” piece of artwork. All of these programs are a little different but all work much like a child’s kaleidoscope in the sense that once you move the image displayed you can’t go back. Once I finalize the piece I want to use, my process begins. The “metamorphosis” begins in Photoshop which is my base program but I rarely use any of the filters provided with the program. Instead I use nearly a dozen plug in programs to create my work. Unlike most artists I have no idea what shape the creation will take or what the final the color combinations will be most of the time. When the piece “Wow’s” me I stop. In many cases I will use the same “Original” piece to create 5 or more pieces and it is doubtful that the average person would know the finished pieces came from the same piece of art.
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VL Studio Visit
Artistic Layers 1
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VL Studio Visit
Imagine It 4
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The key to my creative process is I don’t want the artwork to look computer generated and the pieces must be bright, vibrant and have Wow appeal. I reproduce my Limited Edition artwork on “High Gloss” Aluminum in a custom aluminum shadow frame which gives the artwork an additional visual dimension. I wasn’t aware until I exhibited at Art Expo New York in 2013 that I had created a new art form. In the artwork displayed in this article, I have added an “Original Art” insert so it is easier to see the transformation to the finished art.
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VL Studio Visit
My artwork has been exhibited at many large National & International Art Shows; Art Expo New York 2013 & 2014, Spectrum New York 2013 & 2014, Spectrum Miami 2013 & 2014. Artwork has also been exhibited at Montreal Art Center and Southern Nevada Museum of Fine Art, Las Vegas. In addition, my work has been published in a number Juried Art Publications; International Contemporary Masters Volume 7 & 8 and others. http://www.rodseeleyart.com/
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Over the last several years my artwork has won many awards both online and at Regional Juried Shows but it is taking time for Digital Art to become established as an art form especially by galleries who frequently feel computer generated artwork doesn’t match up with other traditional art forms like oils, watercolor or pastels. I enjoy creating artwork that is visual and makes people stop to take closer look. I consider my artwork to be vibrant “happy art” where the viewer decides what the subject is and everyone has a different vision.
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ASHKENASI Michal Ashkenasi
Red Memories on the Sand
Abstract Figurative and Minimalistic Paintings
don scott MACDONALD
The elegant canvases of nationally–acclaimed artist Don Scott Macdonald are not simple rec Rather, Mr. Macdonald strives to distill the essence of a scene. Dreamy, simple and powerful perceived stillness with inherent movement, and expert representation with unearthly abstra
Artist Reception: Friday May 16th, 6-9 pm Exhibition: May 17 - June 8 All Paintings by Don Scott Macdonald. miradafineart.com
(l to r): Sky Crane Creek, 24” x 48”; Boundless, 36” x 48”; Virga Laguna, 36” x 60”
creations of static landscpes. lly emotive, each painting juxtaposes action. 5490 Parmalee Gulch Rd. Indian Hills, CO 80454 (only minutes from Denver) www.miradafineart.com 303-697-9006 miradafineart.com email@example.com
â€œRiver Rock Cottage & Bluebonnetsâ€? terriholland.artspan.com/
Acrylic, 16 x 20
Finding Art in Life and Life in Art
D AWilder L TDalton ON Judy Contemporary Fine Art
Corey West Watson
Searching For Someday
The Layered World Of Corey West Watson by Dave Justus
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“It sounds so clichéd to say that I was practically born with a brush in my hand, but it’s the truth,” says Corey West Watson. Throughout a childhood spent drawing and painting, Watson knew she wanted to be an artist. But she had little idea what such a calling would entail, or how the journey would test her to her limits. “I thought being an artist was little more than creating pretty pictures to hang on people’s walls. I had no idea the depth of love I would experience… along with painful loss, and the struggle of having to forgive incredible violations.” Watson’s experiences from the playroom drawings of her youth to the studio paintings of today gave her, she now realizes, “the drive to take my art beyond just ‘pretty,’ and into a place where I would have to pour out my soul.” That soul finds its expression on her canvases, in their abstract washes of color or their layers of mixed media. The processes she has developed—the “how” and “why” of her creative expression—find their genesis in her past, in a story that Watson never imagined she would be sharing with the world at large. But as interest in her artwork grows, so too does interest in the woman behind the signature, and so she has drawn back the curtain to offer a glimpse. “There were many people who influenced me as a person,” she says, “but none more than Ben. He became my greatest love, and my deepest pain.” The two met at a young age and very quickly fell in love. It felt natural for them to talk about their “someday”—a life, a family, a home together. But that home couldn’t stand in the face of the Other Woman who “roared through my life like a tornado.” Watson watched helplessly as her relationship began to crumble. “She was a young woman without moral boundaries, who didn’t care that he was not available. He was a young man full of hormones, fear, and the belief that it was not possible to find the love of one’s life at 18.” Devastated, Watson removed herself from the situation, salvaging what pride she could and moving out of town, abandoning 72 | VL Magazine - VisualLanguageMagazine.com
her happy “someday” in her wake. “The emotional overflow I was experiencing had nowhere to go except onto my canvas,” she recalls. “It felt natural for me to release it there, since drawing and painting were part of who I was anyway.” But even as she took up her brush, she confronted a daunting realization: For the work to be real, the emotion that went into it had to be genuine. “I was a shy person,” Watson admits. “So while I needed the emotional release my art gave me, the thought of people seeing my heart and soul poured out onto a piece of paper terrified me.” But her pain was too raw to keep bottled… so instead, she abstracted it. Within a few years, her work was practically nonobjective. “I was in love with creating abstract paintings not only for the challenge it presented, but I felt like it would give me a way to hide behind my work while secretly pouring out my heart.” The more she bled onto the canvas, though, the more people began to respond to her art, until she had almost literally painted herself into a corner. “The more abstract my work became, the more people asked questions. The more I had to talk about my work. And the more I realized that it was the story behind the art that connected them to my art, and me to them.” That story was far from finished. A few years down the line, Watson felt her heart breaking all over again when she learned that Ben was getting married… to the Other Woman. Emotions she had buried in her work came surging to the surface, and she realized that the only way to cope with the news was to let him go, to move on with her own life. She got married as well, and though some small part of her still loved Ben and thought of him daily, she knew it was improper to dwell on those thoughts. “Marriage meant I had to keep him where he belonged in my life, which was in the past. I allowed myself a brief time to reflect on what he was to me… and again, I went to my art.”
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Watson wanted to honor what Ben had meant to her, the enormous influence he had been on her life and her work, but she wasn’t quite certain how to do so. Then she remembered that she had collected an assortment of handmade papers back in college, for reasons that had never been entirely clear to her. Their purpose crystalized in an instant. “I began to tear and cut the papers,” she says, “and put them into acrylic paintings along with other material like ink, pastel, spray paint, and fabric. My thinking was that the different materials represented all the life experiences that I had had,” and that their inclusion in her art was a way to commemorate the influence not only of Ben, but of many of the people who had shaped her life’s course. http://www.coreywest.artspan.com/ 74 | VL Magazine - VisualLanguageMagazine.com
“One day, and quite by accident, I began to cover a painting I had been working on that I did not like. I found that parts of it were nice when they were allowed to just peek through.” Watson sat fixated on the painting for a week, considering what to do with it next. Over that time, it took on a much larger, more symbolic meaning for her. She thought about people as a whole, “how we all start life as a canvas ready to be filled. That canvas is built on in layer after layer, developing who we are. Each layer influences the next, some areas showing through and others we choose to cover up and make go away.” Left Above: Begin Again Right Above: Crown
This idea was so meaningful to her that she began to adopt the mixed media layering process for all of her paintings, creating colorful palimpsests that came alive in the present but offered glimpses of the past. “All the work I do, even though it is mostly nonobjective, is life based in the sense that the materials and the process I developed all came from life stories,” Watson says of her methods. “I never have a specific plan when I begin a painting. I rely on happy accidents, the element of surprise.” Still, she adheres to her axiom that only genuine emotion can produce genuine art: “I work toward the goal of having a good painting that is true to who I am, and let it happen as it wants to. I place a layer on the canvas without specific intention to cover it, and when it’s ready for another layer, I add it. I keep covering, adding, and covering layers until the painting has had enough ‘experiences’ to feel complete.” Watson had developed her new art style as a way to help her process and compartmentalize her feelings for her lost love. “In a way, it allowed me to move forward, but in another, to keep him with me in a way that was not a threat to the life I chose.” But that life was not finished adding its layers; her experiences were far from complete.
“Eventually,” she explains, “both our marriages ended in divorce. With broken families and broken hearts, we found our way back to each other.” Mixed in with her joy at seeing him again, she felt herself flooded with additional, unexpected emotions. To her chagrin, Watson learned that Ben had married “because he thought he blew it with me, and nobody he asked was willing to tell him how to find me.” Hearing that he had loved and missed her during their many years apart, she felt a rush of anger: “I was hurt and jealous that he had chosen to have a life, home, and family with her. Even though I had also moved on and had a family of my own, it made me feel guilty at how upset I was that he had a family that was not part of me. Part of us.” But there was a grander layer to be painted on top of this swirl of emotions. Eventually, Watson says, “I realized that through it all, God was answering my prayers the whole time.” Those answers had not always come easily, but there was no doubt she had received them. “I asked the Lord to make me an artist,” she explains, “not just to make me a good painter. He used Ben as an instrument in my life to create in me that which could not have existed without the intense life experiences I had.”
Face to Face 40 x 80
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Her faith has given her a stability when she thought she might crumble, and she is grateful for God’s influence on her life and work. “He is the only one solid and secure enough to take our pain and carry us through it. He gives us outlets to release our pain and share our joy. He has given me life experience to make me more understanding as a wife, mom, friend, and daughter, as well as the understanding to use what I go through as a tool to become a better artist.” At this point in her story, Watson says, “I am over-the-moon excited that it came around full circle and that Ben and I are now married. I love knowing that what we had was real enough to bring us back together after fifteen years apart. I am blessed because of the second chance we’ve been given, and I look forward to what our future holds.” Though she acknowledges that the path they walked to reach this point hasn’t always been pretty, she is certain that, through its highs and lows, “it has created a bond between us, and a drive to be successful together.”
Skinny Dipping 48 x 48
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Of her husband, Watson muses, “I can honestly say that he is the one person who gave me the gift of becoming the artist I am, more than anyone else in my life. To this day I am not sure he knows how much he blessed my life.” It’s clear that the pain of his absence was as much an influence on her art as the joy of their reunion, and the love between them that never died. Thinking back to that youth with the brush in her hand, Watson is circumspect in her reflections. “As a child, had I known what I would go through that would make me the artist I was praying to be, I would have run as fast as I could the other way. As an adult, having lived through all I have and seeing the blessings it brought me in all areas of my life—not just as an artist—I would live it all over again.” It may have taken years, a great deal of pain, a multitude of layers… but Corey West Watson finally reached her “someday.” And the experience has prepared her to make the most of every day after.
Out of Ashes 48 x 36
Embracell 36 x 36
Fragrant 36 x 36
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We Belong Together 40 x 30
Three Trees 24 x 30
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White Day 24 x 24
Wishes 24 x 18
We Belong Together
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CHAPMAN Elizabeth Chapman Contemporary Abstract Artist
BIRGIT HUTTEMANN- HOLZ
Aeon (Touch Down), 16”x16”, encaustic on panel, 2012
VL Artspan Studio Visit
Spring 2014 Detroit: Inside the Pioneer Building, Studio 303. It is still frigid outside, a city frozen almost solid. I open the door to my sanctuary, turn on the light, plug in my electric tools, and turn on the heater. I connect my IPod, listen a moment to myself, select the music and turn up the volume. Ready! I step into the U-form of my working space. It surrounds me and allows me to concentrate on my art, not finding things. On the right are my paint griddle and electric skillets, my pigments and waxy brushes. On my left are oil paints, oil sticks, oil pastels, and brushes with a blue tape on their handle. The blue tape reminds me to not dip them in wax! For now, directly in front of me, is a large architectural drawing table placed horizontally position. About 5 meters behind me stands a large mirror. I only have to turn around to get a distant glance of my painting so that I can view and critique my work. One, no, two more things - I coat my hands with barrier cream and fasten the apron behind my back. Maybe that is my daily routine. Every other move is dictated by my soul, and my dreams. I am talking about my work - it’s a love affair! Today, I went downtown before coming to the studio and bought some cobalt blue oil paint. I can’t wait to get my hands into that startling deep blue. Yes, “Mother Nature is my competition!” I start with clear encaustic layers on my wooden panel. I torch, scrape away the excess wax with my razorblades and start anew. After two layers I add some pigments to my wax. Layer after layer I build the foundation, then the background, it is now that I and set the temperament of the painting. Then I start with the outlines and followed by shadows. Today, it is black, straight from the tube, oil, glistening, as thick as my pinky, a bit of linseed oil, pouring, generous and then brush work: Bold, playful, but with many exclamation marks!! It’s a dance that only just begins. I turn and add wax again, burnt umber on top. And so it goes back and forth. In between, I fuse every-
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thing with my Iwatani torch, a furious little thing. I do not use propane. I use butane, a very hot merciless flame, a flame for the impatient, impetuous dare devil. Firedrake! Now, the detail - cobalt blue of course! I push the oily paint directly on my fingertips - sometimes, I am wearing gloves, but not today! It is a sensory overload. I flick the paint, smear, set accents, wipe , mix, add wax , torch it, burn in, let it pool, scrape away, cover, reveal. It is my ‘Fascinosum’. And the best of all? Gestural painting! Movement, storm, impact, sweeping, bulging, ripping apart, prying open, with a high arc flying across the plane. Mighty paintings – ‘Sturm und Drang’ (storm and stress) - they plea: Be careful! At the same time they wave you over and whisper: Come join! Be unrestrained! An abstract landscape. Cross-border breed, lyrical, upside down. Scratched, incised agitation, reflection, fly-fishing for urgrunds (primal cause or ultimate cosmic principle). Rising water. A falling flower bud will slay you! Beauty and abyss! Excessive curiosity, spellbound, trance. Snap shots of nature at its best! Storm, decay, ambiguity, explosion, flood, death, devotion, surrender, capitulation. An org*** mix of decline and resurrection. Guess? Who am I? A painter of moments, holding uncertainty, foreboding, calling you to rethink: It could be different. Alas! A master thief of split seconds. Moments ago.
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VL Artspan Studio Visit
Series: The Truth Lies Elsewhere
Left Above: Passage Du Temps, 20”x20”, encaustic and oil on panel, 2014 Center: Extinguish Thou my Eyes_ R. M. Rilke, 30”x30”, encaustic and oil on panel, 2014 Right Page: Til my soul takes Flight, 24”x18”, encaustic and oil on panel, 2014
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VL Artspan Studio Visit
Series: The Truth Lies Elsewhere
Renaissance, 20â€?x20â€?, encaustic and oil on panel, 2014
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Through the Thicket past the Blue, 20â€?x20â€?, encaustic and oil on panel, 2014
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VL Artspan Studio Visit Series: Aeon
Left Above: Aeon (Re-Turn), 16”x16”, encaustic on panel, 2012 Center: Aeon (Touch Down), 16”x16”, encaustic on panel, 2012 Right Page: Aeon (Passage) 16”x16””, encaustic on panel, 2012
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VL Artspan Studio Visit
Left Above: Aeon (Catharsis) 16”x16”, encaustic on panel, 2013 Right Page: Aeon (Once upon a time), 20”x20”,encaustic on panel, 2013
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I am exploring our desire for a lost Eden. In our fast changing world the infinite splendor of the natural process of entropy and decay becomes a metaphor for the continuum: A fallen world, but free to overcome form and purpose. It is just a state of transition, of change, of evolution. Failure has a dual nature of its own. It is at once a leap forward and a fall downward, one that can only be made by free human beings. The motivation for such a leap is triggered by curiosity and/or anxiety about the future and about being a human itself.
The cycle of nature is endless; a work of art is an expressed glimpse of the eternal. Wax and powdered dry pigments have been the consistent medium in my paintings. I use fire and razorblades to attack and challenge my paintings. I leap and fail, but where creativity and failure dance, I approach the truth. When I succeed I transcend tragedy and see the genesis of beauty and the ephemeral. Birgit Huttemann-Holz, 2014
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Jeanne Hyland Signature Member WAOW
JeanneHyland.com Fine Art and Instruction info@JeanneHyland.com
6” x 8”
Bringing Life to Art
“Rufus at the Window” 12 x 16 Pastel
Mary Ann Cherry Master Signature Member WAOW
MaryAnnCherry.com email: firstname.lastname@example.org
addren doss WAOW Signature Member
“Up Ahead and to the Right”, oil, 11X14”
Light filled landscapes and intimate pet portraits in oil and pastel.
Woodland Picnic Pastel
Debbie Hughbanks hughbanksart.com
gloriachadwickartstudio.com WAOW Associate Member
Artists for Conservation Signature Member
Barbara Ann Jones WAOW Signature Member
"The Gift of Lilacs" Oil
BarbaraJonesFineArt.com email: email@example.com
VLWomen Artists Of the West 2014
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“WAOWed in San Diego”
It takes the energy of an Olympic gymnast for a woman to reach for the highest quality attainable in the visual arts, to stretch themselves to achieve that excellence. Painting, drawing, sculpture—all take time and perseverance to master. For women, whose workday does not end when they return home to become the mother, the housekeeper, the wife, and sometimes nurse, finding time for their art often means walking that narrow balance beam between ‘creative time’ and ‘family time’. Women Artists of the West (WAOW) has over 260 of these remarkable artistic athletes. They excel in a variety of genres and mediums. Members work both in their indoor studios and on location, en plein air. They paint and sculpt still life and floral, landscapes and seascapes, figures and portraits, rural life and cityscapes, old west or contemporary west, wildlife and domestic animals, even historical events. Some, such as long-term Emeritus member, Esther Marie Versch, paint Native American subjects. Styles vary as well and include abstract, impressionism, expressionism, realism, representational and contemporary. Regardless of genre or medium, the common thread of WAOW artists is the passion for their work and the desire to express the joy and beauty of the world around them. A woman’s place is no longer simply in the home, but at the easel or the sculpting stand. They do it all! Our Beginnings as Women Artists of the American West . . . Women Artists of the American West (WAOAW) was founded in 1971 in Norco, California by a small group of women wanting to network as professionals and compete in the world of art. They pooled their efforts and began promoting their careers with shows and advertising. WAOAW soon became known for its high caliber of artists and distinctive western style. Their debut exhibit was held in Palm Springs, California. They continued to show in locations 102 | VL Magazine - VisualLanguageMagazine.com
such as the Cowgirl Hall of Fame in Fort Worth, Texas, in Las Vegas, Nevada, and then on to other areas of the country including New Mexico, Colorado, Wyoming, Mississippi, and Arizona. In these early years, the membership was limited to 35, each of whom played an active role, investing time and money in shows and advertisements to promote their professional growth. Eventually the decision was made to increase membership in order to support the increasing demands for financing and coordinating the group’s activities. WAOAW artists were known for their western pieces in various media. However, as many women artists in non-western genres wanted to become a part of the group’s legacy, in 1988 the bylaws were changed to embrace additional genre, subject matter and style. The membership chose to drop “American” from their name and became what is known today as Women Artists of the West. Women Artists of the West as it is today . . . This non-profit organization has specific objectives that include uniting women artists and promoting appreciation of art created by women. WAOW still encourages technical excellence by educating artists and the public both through exhibitions and workshops. But in its decades of growth, the group experienced many changes. WAOW no longer consists of only western artists, living only in the West. New members are juried into the group every year, and within the realm of fine art, the application includes no restriction on genre, subject matter or location. The membership of WAOW now encompasses creative women living across and throughout the country, with members in more than 30 states and even Canada. Some members live in remote areas, others in suburbia, the fastpaced city, or remote rural areas. Regardless, the organization does its best to provide publicity opportunities and national awareness for all of these members through advertising and its web presence.and annual exhibitions. http://waow.org/
Cecy Turner “Copeland Falls” Oil
Betty Gates “Spring Water” Oil
Cecy Turner “Untamed Majesty” Oil
Betty Gates “Riverbank Rendezvous” Oil
Kim Shaklee “Thunder”
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B.J. Billups “Balboa Lilies” Oil
Betty Gates “Poetry” Oil
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Linda Walker “Out on a Log” Oil Linda Walker “Brahma Mama” Oil
Amy Evans “Last Standing” Oil
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Kim Shaklee - Alcatraz
WAOW appreciates Visual Language Magazine for the opportunity to share past history as well as current information on the large and exciting upcoming show, an exhibition in California. “WAOWed in San Diego” Women Artists of the West 44th National Juried Exhibition Women’s Museum of California 2730 Historic Decatur Road, Barracks 16, San Diego, California Show dates: May 2 through May 31, 2014 Opening Reception: Friday, May 2 from 5pm to 8pm The public is invited. The fine artwork of various genres and mediums in this exhibition has been through a stringent selection process, and the members who have already been juried into this prestigious organization must then be juried into the show as well. If you cannot attend be sure to visit www. waow.org and enjoy their online catalogue once the show opens. For further details visit http://womensmuseumca.org/ or one of the following contacts: Show Chair - Debbie Hughbanks Assistant Show Chair - Gloria Chadwick National Publicity Chair - Addren Doss WAOW is also delighted to introduce our new Master Signature members, B. R. Gates and Cecy Turner, and new Emeritus member, Linda Walker. Master Signature member, B.R. Gates (Betty) from Fort Worth, Texas, has had work exhibited in such prestigious locations as the House of Representatives in Washington, D.C., and the Lincoln Center in New York. She has also exhib-
ited in the Phippen Museum, the Reagan Library and Museum, the Gilcrease Museum and was a “Special Guest of Honor” at the Sun-Yet-Sen Memorial Hall in Taipei, Taiwan where her painting hangs in their permanent collection. Betty was Women Artist of the West’s Best of Show winner in 2013 at the exhibition in Estes Park, Colorado. Cecy Turner, another recent recipient of Master Signature status, has her studio in Dallas, Texas. She was chosen by Southwest Art Magazine as an “Artist to Watch” in 2006. Her work has been featured in many other national magazines. Cecy Turner is also a Signature Member of the National Watercolor Society, Southwestern Watercolor Society, National Oil and Acrylic Painters Society, Outdoor Painters Society, Plein Air Artists Colorado, American Plains Artists, as well as a Fellow in the American Artists Professional League. Linda Walker is WAOW’s new Emeritus member. Linda, from Bemidji, Minnesota, was The Gold Medal winner for the 2010 San Dimas Wildlife Festival, San Dimas, California. She has also been included in Oil Painters of America shows. Linda focuses mainly on wildlife and domestic animals, and strives to “tell a story” with her paintings. Again, Women Artists of the West thanks Visual Language for the opportunity to showcase their work. While these new Emeritus and Master Signature members are all painters, their paintings are very different in subject matter. Where it counts—in the professionalism of their visibility as fine artists and in the excellence of their creative work—as WAOW members do across the country, these women find a common ground.
susansmolenskyfineart.com Ballerina #10 / Oil On Linen/ 20 x 16
Women Artists of the West 44th National Exhibition
Nancee Jean Busse Associate Member of WAOW
Red Flowers, Long Light Acrylic, 16x20
"Barns" 24 X 36 Acrylic, Mixed-Media on Board
www.slhpollard.com "Island View" Acryilc Mixed-Media on Board
"Blue" 30 X 40 Acrylic, Mixed-Media on Board
Looking Beyond "My paintings start with images in landscape. I use many layers of acrylic glazes, and also add texture with handmade papers or other materials. Grid marks, sketch lines, and remnants of materials remain embedded in the work, so that some marks from every layer are in the finished piece. I am interested in changing the representational image at the beginning into something more abstract.â€?
Abstract Collage P
ABSTRACTION Barry Scharf
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Abstract art is a proven and respected form of expression.
As an artist I often feel reality is highly over rated. Realism often bores me; Super-realism though technically difficult when done well, often leaves me feeling flat and unfulfilled. And now there is so much visually real media I am wondering what to make of it all. “I must be getting old. Here I am living in an era of new technological wonders where every Tom, Dick and Harry has the tools to capture images. It is the era of the “Selfie”. Smart phone cameras everywhere are capturing the realism of everything in our every day lives. Hay look… here is a picture of what I had for dinner (posted on Facebook) and look at where in the world I am now! (As if just being somewhere in it self was the accomplishment.) We are filling the world with images of meaningless moments from every aspect of human reality and sharing it with anyone and everyone. I am wondering if any of this reality sharing has value to the art world? A cacophony of visual imagery with so little meaning… is the creative artists in danger of loosing our place to define visual value in a sea of mediocrity? Artists, galleries, museum curators, critics and collectors have always been the standard to define quality in the arts. I see no reason to change that standard now.” Over my creative life I have found that it is only through the interpretation of reality that things begin to get interesting to me. Reality is an inspirational starting point not a conclusion. Many call this abstraction. The standard definition of ABSTRACTION is to use a visual language of design elements that may exist with a degree of independence from visual reality in the world. For example how we see a rose is different for each of us. To some it is the smell or shape of the petals; to others it is the color. Some might sense a prick from a sharp thorn in memory and still others might look deeper. The closer we get the less we see of the whole. Other elements http://barrywscharf.squarespace.com/
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are revealed, we become immersed in discovery and we find new meaning as we explore. Where in this process does the realism of the flower give way to abstraction? Is the closer abstraction still not the rose? And is it still not real? As artists we often search for meaning within the world of our expression. Clearly it resides at every level of reality from the most obvious to the unrecognizable abstraction. I can’t speak for other image-makers but for me it is essential that my abstract art have meaning. *Right Page Top Artistic meaning can often be found in the juxtaposition of forms, in a special relationship of colors, in the variation of textures. Whatever aspect of design is used it should be critical to the meaning of the composition. It is the artist who approaches the image with an eye of critical finesse, sensitivity, intellect and skill that makes it meaningful. These are the hallmarks of good art and if you add to your work the entire list of design elements it is possible be epic. I believe abstraction is the process of awakening to another reality of perception. Seeing the unseen and bringing it into consciousness without needing the ability to understand it all. It is in this state that the mind can wonder, the heart can open and the soul can soar. For me this is the meaning of abstraction within my art. As an artist skilled in many media, I try to choose an appropriate creative media form for the content of my expression. In paint I work from quick structure sketches and add elements as I go. Building from simple to complex, general to specific the image takes form and the content or message is clarified. In abstraction explanation is not necessary so the message may be subliminal.
* What is the first thing you see? Is it real or imagined? Soon you realize your first impression was not the reality of the image.
** Abstract 24 Sketch
** Abstract 24
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Inspiration for abstract works can often be hatched from real events, sights and sounds. I look for the emotion behind the reality and try to use that to set the mood, color and action of a painting. “Angry Ocean” is just such a painting. Strong geometrics offset the action and lock the motion to the frame. Colors are muted in a limited pallet of blues and grays with strong contrasting values. Small amounts of complementary colors are sparingly added creating the high energy visual that makes this work stand out. To effectively infer depth, I find that the key to successful Abstract landscapes require a horizon line. Forms move in directions that obey an invisible perspective. There is an implied sky and ground relationship that gives stability to the contents. .
City by Day
Night Moon http://barrywscharf.squarespace.com/
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“City by Day” conveys these principles and defines my approach to separating the ethereal from the solid. Shapes appear to defy gravity with the use of drop shadows softly airbrushed to imply a light source. The implication of obeying the physical laws of light infers a believable existence with the abstract. “Night Moon” further demonstrates the horizon line and the possible variables of implied perspective. A dark negative space supports the brightness of the moon oval giving focus to the shape. In “Seattle Waterfront” the view is converted to an aerial perspective as we look down on the scene from above. A large cross defines the overall composition; lesser objects that one might find exploring the docks of Seattle complete the details. Expressed through visual shorthand textures abound interpreting sounds as brush marks, set in contrasts that mirror their amplitude. Abstract forms eventually emerge to define the ferryboat and tug boat present but hidden in within the overall structure.
“Composition on Sound” is an early work loosely defining an ambulance siren as it raced past the open window of my loft studio in the city. Sound as motion in color and brush stroke of thick impasto paint dominate as it cuts across the painting. A brilliant red color reflects the implied danger at hand. Acting as supporting characters in a passion play the other lesser marks are ambient to the single cutting large horizontal.
Composition on Sound
“The Pond” clearly an abstract inspired by impressionist techniques moves from a distant horizon to the lily pad forms of the foreground. The free shapes and color of the space in between gives motion to the forms, as if a breeze is blowing.
“Exit” is a painted paper construction that explores textures, colors and pattern within a three dimensional construction. The overall structure is relieved through a window to an open sky with swans flying by. Clearly the swans are not abstract in this work so the marriage of concepts acts as a foil giving the viewer a recognizable place to escape or “Exit” the work. As I reflect on the concept of “Abstract Art” in contemporary society I can safely conclude that there is room for the new technology and it can be a supportive tool to the abstract artist. The ability to quickly capture imagery that inspires creative juices is a plus to the details we artists add to our work. Research and reference work has always been a component of the creative process. I for one now embrace the possibilities of my cell phone camera. I just need to ask a 12 year old how to use it.
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VL artspan.com Alison Woods
Utopia Machine 46 x 48
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The Perfect Place to Find Art
Maelstrom 96 x 132
Big Science Installation
Laurie Justus Pace
The Painted Pony Gathering One
32 x 48 Oil on Canvas
Vanessa Katz Freedom of Abstract
VL Studio Visit Vanessa Katz
The Freedom of Abstract Vanessa Katz was born and raised in England and now resides in Palm Desert, California. At an early age she was always fascinated with color and began painting as a teenager. The art she created in her youth and early career was comprised of only very detailed representational work. She resumed painting full time after her daughter left home for college. Bored with the confines of realistic work and with a desire to paint freely, she began to develop an impressionistic style and to paint from her imagination. Sometimes dreaming a painting or simply allowing it to evolve organically (effortlessly) from within. Confident and energetic brushwork with bold, bright, rich colors allow the freedom for her to express thoughts, feelings and life in a vibrant way. The people who view Vanessa’s paintings have commented that her work leaves them feeling happy and uplifted. “I love the fact that my work can evoke positive emotions. I am honored and thrilled. What a privilege”. Currently Vanessa’s work includes a variety of subjects from abstracts, landscapes, trees and animals. One of her passions is to support groups protecting animal rights and has done a series of animals on cigar boxes benefitting pet charities. This series was a perfect match as her husband has a cigar business and always has many empty cigar boxes. “They make perfect canvases as they often have such attractive paper borders which create a natural frame and I like the effect of allowing the gold foil from the original cigar label to show through. I then lacquer them to achieve a very glossy and attractive finish”. Vanessa chooses to use different mediums such as ink, crayon, charcoal and gold leaf. Her preference is mainly using acrylic, her favorite brands
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being Golden and Holbein. She also loves to use Japanese fine art papers, old postcards, symbols, old ledger books and letters, in fact most anything interesting she can get her hands on to add to her mixed media pieces. “It is very engaging and exciting for me to experiment with all the various papers and the like. It is important to me that my work creates an element of intrigue and wonder. I attend many workshops to learn new and interesting techniques from other artists. The journey of discovery is what amazes me. As an artist the process of learning while experimenting creates an internal vibration. It is very empowering and exciting. “ Painting for Vanessa is all about the expression of fun and her love of life. She paints with a sense of ease, serenity and excitement. When she finds herself struggling to “make it happen”, she realizes it is time to stop for the day. She listens to music, paints while standing and moves and dances to get in the “flow and the zone” and then hopefully a masterpiece is born! Her studio is in her home, which allows her more time to paint. She offers her collectors ‘Take Tea and See’ by appointment. This is a chance for them to visit her and see her work up close and personal. She serves tea (she is English after all and coffee is offered too). “You cannot begin to convey the texture, energy, depth and color of a painting in a photo so I love when collectors can see and feel the work in person – it is a completely different experience. Collectors love to see my studio where the work actually happens. It gives me a chance to describe the process of creating the work of art and share a connection with my collectors”.
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Studio Visit Vanessa Katz
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Right Page: Wonder
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Studio Visit Vanessa Katz
Gallery View The life of a successful artist includes a great deal of time networking, marketing and being on the computer, which Vanessa embraces and enjoys. She has a website and an active Facebook page. She has built a large following on Facebook in which she is constantly sharing her own work and in addition features other artists and interesting art related stories. She strives to make it interesting, inspiring and to allow a glimpse into the life of an artist.
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Vanessa truly shares her love of painting in her work. She invites you to visit her website: www.VanessaKatzArt.com and / or connect with her on her Facebook Page www.Facebook.com/AbstractArt4U
Right Page: Flow
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"Beyond The Gate II" 18" x 24" Oil on Canvas
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“Pouring Color Into Your Life”
Dreaming 48”x36”x1.5” Acrylic on Canvas
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ARTSPAN Artist Spotlight
When did you realize you loved art and wanted to be an artist? Cannot remember a day when I wasnâ€™t creating. It definitely goes back to my elementary years. Who has been your mentor, or greatest influence to date? I cannot say one in particular. Everyone I come in contact with I can learn something from. This can be from the very young to the oldest. However I had one graduate instructor who could put what I was seeing into words and that was Dorothea Builder. Who is another living artist you admire and why? Living? I have many that are deceased; Lucian Freud and Antonio Garcia Lopez. They both work tonal hues, craftsman, respectful of form, love of desolate spaces. They are technically proficient and encourage the viewer to question the scene from multiple principles. What is your favorite surface to create work on or to work with? Describe it if you make it yourself. Wow! To choose one, I would have to say 300lb hot press paper. The paper must be archival, acid free. What are your favorite materials to use? I love gesso because it is a binder and provides a workable tooth to my paper for many other materials. Adding a slight hue to gesso will provide harmony to a finished composition. The key is to know your materials so well that mixing media becomes second nature, and technique can take over. Do you have a favorite color palette? Very tonal. I love browns, yellow ocher, muted greens. However there is a need to balance these colorations with compliments. How often do you work on your artwork? How many hours a week? At least seven hours most days. What is the one thing you would like to be remembered for? Craftsmanship 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? Normal family obligations. How do you overcome these obstacles? Understanding that these moments happen in everyoneâ€™s life, so make the situation positive What are your inspirations for your work? Love working with the human form, light, color, texture. Which work of yours is your favorite? Paintings of my daughter
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Eye’m Wide Awake Acrylic 20 x 16
https://nancybossert.artspan.com/ Where’s Brother Charley
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ARTSPAN Artist Spotlight
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Right Page: Holding Onto Hope
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ARTSPAN Artist Spotlight
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ARTSPAN Artist Spotlight
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ARTSPAN Artist Spotlight
Getting to know you Q&A What is your favorite color in your closet? Brown What book are you reading this week? I am a news junkie Do you have a favorite television show? Currently: Sons of Anarchy and Project runway What color sheets are on your bed right now? Cream What are you most proud of in your life? My marriage and my children Who would you love to interview? Not interview, but to have a conversation with the Pope Do you have a passion or hobby other than painting? What is it? I crochet. Who would you love to paint? My husband If you were an animal what would you be and why? Bear, texture, size and movement. If you were stranded on a desert island and could only take three things, what would they be? So hard. I take Yarn on every trip, because My hands just can’t be idle. I couldn’t imagine being somewhere without my family, but I wouldn’t want them to be stranded somewhere just because of my desire…..Crochet hooks, wine. Not really great choices. Share something with us that few people know about you. I will be married 39 years this year. If you could live anywhere in the world, where would you live? I love Easton.
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Mary Jo Zorad contemporary fine art
DAILY PAINTERS ABSTRACT GALLERY DailyPaintersAbstract.blogspot.com
Color Composition Creativity
DailyPaintersAbstract.blogspot.com Kris Miller Barbara Van Rooyan Blue Canyon II
CFAI.co Artist Showdown
CFAI.co Artist Showdown March 2014 - Mixed Media, Encaustic, & Digital Art
Arlene Woo Flute Player http://arlenewoo.blogspot.com
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Lion Portrait by Arlene Woo
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CFAI.co Artist Showdown Second Place
Donna L. Martin Take Heart http://donnamartinfineart.com
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Ezshwan Winding Receiving http://ezshwan.com
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â€œAnimals 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. â€œ
CFAI.co May Artist Showdown “Do you have what it takes?”
“Maritime and Seascape Art” www.cfai.co/#!artist-showdown/chic
Spring 2014 Juried Competition
Deadline is May 15th. $500 in total cash prizes Plus much more! www.cfai.co/#!juried-shows/c19ne
Be Brave Mixed Media 20 x 30
Spotlight Artspan VL Photographer Robert LeBlanc
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VL Photographer Spotlight Artspan Robert LeBlanc
â€œPhotography for me creates a profound relationship between sensitivity, observation, and reality. As a photographer my intentions are to create serene compositions in an effort to promote contemplation from the viewer. My work is very personal and I include all my emotions when I am in front of my subject; however my purpose in creating meaningful photographs is purely driven by passion where I embrace the process of seeing. Therefore, my desire is to share my passion with the world. The harmony of varying tones, contrasts, textures and colors that the light presents fascinates me as I pursue my visual journey. And for me, photographic art is akin to meditation because to bring a visual notion into reality calls for thoughtful contemplation and sensitivity to the ambiance of my surroundings.â€? Robert LeBlanc
Dock of the Bay
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VL Photographer Spotlight Artspan Robert LeBlanc
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VL Photographer Spotlight Artspan Robert LeBlanc
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VL Photographer Spotlight Artspan Robert LeBlanc
Love it or List it
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Concho River Alejandro Castanon
www.vinod www.vinodipinte.com 602 Orient St
Vino Dipinte Art Gallery
San Angelo, TX 76903
Texas Theater Alejandro Castanon
KRISTINE KAINER Texas Artist
artists of texas
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NO WHERE BUT TEXAS
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Debbie Grayson Lincoln Texas Contemporary Western Illustrator
Advertisers Addren Doss 96 Alejandro Castanon 172 Alison Woods 120 Arlene Woo 44 Artists of Texas 176 Barbara Ann Jones 99 Barry Scharf 114 Birgit Huttemann-Holz 82 Carol Brody 47 Corey West Watson 70 Daily Painters Abstract Gallery 148 Davis and Company Art Gallery 42 Debbie Grayson Lincoln 178 Debbie Hughbanks 97 Diane Whitehead 154 Elaine Vileria 38 Elizabeth Chapman 80 Eric Bodtker 52 Felicia Marshall 179 Gloria Chadwick 98 Ines Fugina Malnar 26 Janine Kilty 28 Jeanne Hyland 94 Jonelle T McCoy 51 Judy Wilder Dalton 3, 69 Kimberly Conrad 22,134 Kristine Kainer 174 Kyle Wood 132 Lady L 183 Laura Reed 112 Laurie Justus Pace 122
Lelija Roy 49 Linda McCoy 15 Lisa McKinney 160 Mary Ann Cherry 95 Mary Jo Zorad 146 Melissa Doron 30 Michal Ashkenasi 64 Mirada Fine Art 66 Nancee Jean Busse 109 Nancy Bossert 136 Phyllis Mantik Dequevedo 40 Richard Levine 46 Robert LeBlanc 162 Rod Seeley 54 Roseanne Snyder 50 Sanda Manuila 39 Simon Kenny 18 Stacey Pollard 110 Stephanie Paige 36 Susan Smolensky 108 Suzy Pal Powell 32 Terri Holland 68 Terrye Philley 14 The Art Gallery 156 Valerie Travers 12 Vanessa Katz 124 Victoria Pendragon 53 Vino Dipinte Gallery 173 VL Rees 37 WAOW 100
She began painting at age 3 in the studio of her grandmother, Artist Laurie Pace. She carries the passion for art and painting. Already saving for college, she has her work available online: http://www.ellepace.com/available-work-of-lady-l/
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