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VISUAL LANGUAGE contemporary fine art


January 2013 Volume 2 No. 1

Cover Artist Kimberly Conrad

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VISUAL LANGUAGE Contemporary Fine Art

January 2013 Vol 2 No 1 @GraphicsOneDesign1998-2013

Kimberly Conrad

“Each painting is a journey , dictated by primarily by my current thoughts and emotions, be they happy, sad, peaceful or frenzied.It is a mysterious relationship, and is thrilling when the painting finally reveals itself, and our private journey becomes a story to share.” Kimberly Conrad Conrad has enjoyed gallery representation throughout the state of Colorado; her work can also be found in private and corporate collections worldwide, including Corporate Offices, Hotel and Restaurant. Cover Artist

Though her style remains quite diverse, Kimberly believes she has the heart of an Abstract Expressionist, or even more accurately, an Action Expressionist, as she is most definitely an “action painter”. Her preferred application, used in her non representational abstract paintings, as wells her landscapes, seascapes and aspens is to “pour” her paint, manipulating the flow with water and body movement. She use no sketches or brushes, allowing the paint to move freely and tell it’s own story.

Features this month New Artists

Pages 5-6

Painter’s Keys - Robert Genn Page 8

Art Challenge Pages 15-20 Juried Show Pages 27-30 Best of Show Art Challenge: Ann Rogers Best of Show Juried Show: Judy Crowe

Colors on My Palette Pages 23-26 Featuring John Harrell and Linda McCoy

in Visual Language Hall Groat II Art Review Pages 39-40

Featuring Texas Artist Laurie Pace

Blog Review Abstract Artists Pages 43-50 Features include Kimberly Conrad, Elizabeth Chapman, Nancy Eckels, Kim McAnnich, Rick Heck and Mary Jo Zorad

Daily Painters

Pages 65-66

Collection Starters under $200

Pages 67-74

Featuring Sunny Williams, Carol Schiff, Maryann Lucas, Linda Rupard, Patty Ann Skyes, and MaryAnn Brooks


Nicholas Elliot

Professional Member France

Esther Miller

Associate Emerging Member United States, Texas


Alejandro Casta帽贸n

Professional Member United States, Texas

Velia Lala

Associate Emerging Member United States, Louisianna


Manuela Valenti

Signature Member United States and Italy

Lynne Cunningham

Professional Member United States, California

Karen A. Taddeo Associate Member United States, Florida


Visual Language Masthead

VISUAL LANGUAGE Contemporary Fine Art

Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Diane Whitehead Managing Editor Nancy Medina Deputy Editor Debbie Lincoln Feature Editor Art Reviews Hall Groat II Feature Contributor Robert Genn CFAI Blog Editor Kimberly Conrad Associate Editor Lisa Kreymborg Feature Contributor - Robert Genn Painter’s Keys Advertising Contact Marketing and Development Director Laurie Pace Senior Director Diane Whitehead Junior Director Lisa Kreymborg

Nancy Eckels (USA)

Nicholas Elliott (France) 7

All Artwork is Copyrighted by the Individual Artists. Visual Language Vol 2 No 1

November 27, 2012 Dear Artists, One foggy morning, I was painting on the edge of the Seine within a few miles of Monet’s home in Giverny. In the distance and coming upstream toward me was what looked like an American birch-bark canoe. Barely able to make out the unlikely apparition in the mist, I figured the canoe to be haphazardly made, and its occupants to be two teenage boys. Sure enough, as the canoe came alongside, it was a patched-up mishmash paddled by a couple of kids who had probably overindulged on The Last of the Mohicans. It didn’t hurt that I knew a wonderful story about Jean-Marie Toulgouat. Born in Giverny in 1927, the year after Claude Monet died, Toulgouat, as a boy, had taken painting lessons from Blanche Hoschede Monet, one of Claude Monet’s adopted daughters. Sometime near the beginning of the Second World War, Jean-Marie and a schoolfriend built an American Indian-style canoe. The story goes that they soon ran out of proper boat-building materials. “Blanche provided the answer to the boys’ problem,” reported the London Daily Telegraph on the occasion of Jean-Marie’s death in 2006. “In old age, Claude Monet had been in the habit of having his gardener burn those of his pictures which he had come to consider not good enough. Blanche had tried to impede this by instructing the gardener covertly to store the condemned paintings in the garage. She now told Jean-Marie that he could finish off the bow and stern of the canoe with pieces of these canvases. Thus Jean-Marie and his friend paddled the Seine in a boat partly constructed from the works of Claude Monet.” 5 5 Toulgouat grew up to become a popular painter. But his greatest legacy was his restoration of Monet’s home and garden in Giverny. The property, which was almost derelict by 1970, is now a National Historic Site. More than a million visitors pass through the studio, home and garden every year. On Mondays you can paint on the premises. FYI, we’ve put up some of Toulgouat’s and Monet’s paintings at the top of the current clickback. If you get a chance, please drop me a note. I’m curious if others have experienced a deja vu while painting. Just in case you’re wondering, Toulgouat’s canoe was later reported to have been burned. Best regards, Robert PS: “Lots of people will protest that it’s quite unreal and that I’m out of my mind, but that’s just too bad.” (Claude Monet)


Painter’s Keys - Robert Genn

Painter’s Keys with Robert Genn

Robert Genn’s Studio Book

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Anne Hines

Submit your portfolio to join Contemporary Fine Art International.


WENMOHS Artists Retreat at

Art Workshop Sc

Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marbl Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottl for over eight generations and is today an active cattle ranch.


Oils/Studio February 9-10 $240



Oils/Studio Working from photos or mannequins February 19-21 $350


Drawing and painting the Watercolor/ Studio figure in mixed media May 20-23 May 9-11 $575 $350


Acrylic/ mixed medium/ S abstract February 25-28 $450


Oils, Pastels/ Plein Air October 25-27 $360

S RANCH the Bunkhouse

chedule for 2013

le Falls. Our aim is to make you happy and see to it that you have your best learning experience ever. le of wine. Life is truly good at Wenmoh Ranch. The Texas Ranch has been in the Wenmoh family




Oils/ Studio/ Plein air 2 days of each March 4-7 $595

Oils/ Plein air March 20-22 $350

ROBERT BURRIDGE Acrylic, Studio/ abstract April 1-5 $630

Also soon to schedule will be the great teaching team of KAREN VERNON and KEN MUENZENMAYER. For those of you looking for a great holiday gift idea--other than a class at the WENMOHS RANCH, En Plein air Pro is offering a 15% off until the end of 2012 on all of their artist easel packages.


See you at the Bunkhouse!

Oils/ Studio/ Plein air 2 days of each November 4-7 $595

Dena Wenmoh


Layering experiences with color, paper and texture into life.



14 Art Challenge “G


Best of Show


Gratitude� November 2012

w Ann Rogers

Watermelon by Ann Rogers


Left: Winning Painting Church

First Place Nathalie Kelley




Tempy Berg-Gilbert Librarians Tea Time


Second Place

Third Place Melissa Doron


Lady Liberty


Honorable Mention

Abigail Gutting

Lisa McKinney

Marie Williams


Linda Bell



France Fine Artist When Nicholas Elliott joined it was evident he was a serious painter that connected with his heart and soul into his work. VL caught this posting on his blog and we believe it tells Nicholas Elliott’s story.

During the course of this months daily paintings I am working on ‘freeing up’ my work. In the Still Life Painting Archive on my website ( you will note that my work is very detailed. Those paintings take 5 to 7 days to complete and involve several techniques to arrive at the finished article. In the daily paintings I hope to capture the “itness” of whatever it is that I am painting in a single sitting if possible . . . but certainly within the day. Hopefully over the course of the month, by limiting the amount of time I spend on these small paintings and using mostly large brushes, I will achieve more immediacy in and expression in my work. During this project posting my results from the previous days work is rather like running down a busy high street naked though! Even more reason to work even harder.

John Harrell


When did you realize you loved art and wanted to be ‘an artist’? I first started painting at the age of five. My grandmother who was an oil and pastel painter gave me a set of oil paints for Christmas. My first painting was a still life of fruit. Who has been the greatest influence from your past to mentor you to this career? My Grandmother. Despite her battle with polio she continued painting her whole life .Who is your mentor today, or another artist you admire and why? I think my partners Kit Heveron Mahoney, Anita Mosher and Kelly Berger at Brushstrokes Studio Gallery. They all continue to inspire me artistically to push myself in my work everyday. They all have made great strides in their own careers which proves to me everyday being an artist is the best career in the world. What is your favorite surface to paint on? Describe it if you make it yourself. I enjoy the sturdiness of primed cotton canvas mounted on hard board. What brand of paints do you use? Golden Thick Bodied Acrylics Do you have a favorite color palette? I have standard Colors that I use most days but truly let the painting I’m working on dictate the color palette I use. What is your favorite color in your closet? Baby Blue What subject appears the most in your paintings and why? Figures in the urban setting. I think they tell the story of an urban composition and bring life to their surroundings. How often do you paint? How many hours a week? I paint five to six days a week with as many hours a day. How would you like to be remembered? That life inspired my work and my work inspired my life!



Linda McCoy


When did you realize you loved art and wanted to be ‘an artist’? I was always amazed by art, but also convinced I wouldn’t be able to do it. I didn’t start painting until I was 35, I took a local oil painting workshop. It was an awakening for me and I have been painting ever since. Who has been the greatest influence from your past to mentor you to this career? My mother who sat for hours and hours coloring with my sister and I while we recovered from Rheumatic Fever. Who is your mentor today, or another artist you admire and why? For watercolor I admire the works of the incredbible Nita Engle. She has an incredible glow to her watercolors. John Lovett for the way he uses watercolor and ink. For oil painting I enjoy the work of John Singer Sargent, for not only his color palette, but the enormous body of work he created. The detail of his portraits in the jewelery and clothing, achieved with just a brush stroke are an amazement to me. What is your favorite surface to paint on? Describe it if you make it yourself. For small detailed still life paintings I use gessoboard, I like the smooth surface. Other oil paintings are completed on canvas. For watercolor I use Arches 140lb cold press paper, or Sennelier 140lb cold press. What brand of paints do you use? The majority of paints on my palette are handmade from Blue Ridge in Asheville, North Carolina. I like Gamblin’s Titanium White, and all of the other colors I use are from Winsor & Newton. Do you have a favorite color palette? For oil paints I use white, cadmium yellow, cadmium yellow medium, permanent rose, cadmium red light, napthol red, pyrol ruby red, ultramarine blue, colbalt blue, cerulean blue, thalo blue, thalo green. This is my main palette of colors, but I will add a new color if I feel like experimenting. I do not use burnt umber, except on the very rare occasion I need a burnt umber back ground. I never mix it with any of colors on my palette. This is true in both oil and watercolor. My watercolor palette, is lemon yellow, aurolean, cadmium scarlett, permanent rose, windsor red, cobalt blue, ultramarine blue, cerulean blue, paynes grey, thalo green, these are all Winsor Newton colors. What is your favorite color in your closet? Turquoise What subject appears the most in your paintings and why?Flowers, for the sheer beauty of their color, intricate detail and grace. Hyacinths are definitely one of my favorites. When the sunlight warms the petals, also creating deep shadows, I will paint until I have captured every nuance. When I am painting, their fragrance fills the room. How often do you paint? How many hours a week? Everyday, sometimes eight hour days if I am working on a detailed painting. I keep a sketchbook nearby, if I think of an idea for a painting or I need to do some thumbnails I will drop everything and sketch it. How would you like to be remembered? As a good colorist.



Juried Show Fall 2012

Best of Show Autumn Colors

Judy Crowe When you think of Fall colors, what names of paint color come to your head first? Oranges, reds and all warm colors, the color of fall! Do you most often paint from photographs, a mental picture, or real life? I paint from life in the studio or outdoors probably 85 % of the time, then I use my memory and photos. What do you do when you have a creative block? Work anyway…or do something having to do with my art to stimulate my motivation such as send out emails, work on framing, varnishing, etc. I also look at good art produced by master painters and just think about what I want to say with my art perhaps by visiting an outstanding gallery or by visiting a museum show. What painting of yours has the most meaning to you and why? My painting “ Old Sweet Story “ because it represents my faith journey. What is the most challenging part of your creative process from blank canvas to finished piece? The hardest part of a painting for me is finishing a piece and knowing when to stop. I feel that the end of the painting process is the time when it becomes yours, with your own signature on it…meaning your own finishing touches. Those are the things no one can teach except time and many failed paintings, experience. Sometimes I need to let a painting set up for days or weeks to really know whether I feel it is finished. I turn it against the wall so that I can’t see it and then look later with a fresh eye. What is on your easel right now? Nothing…! I have been away. I have been to Tucson for the National AWA show and am looking forward to getting back to the studio. About Judy Crowe My work is mostly about everyday life. I find a lot of inspiration and joy in painting the beauty of everyday things, places and people. My goal is to create something of lasting value with confidence and honesty. I began painting over 20 years ago and have been fortunate to study with many gifted and giving professional artists. Professional memberships include American Women Artists Association, Outdoor Painter’s Society, American Artist’s Professional League, American Impressionist’s Society, Oil Painters of America, and Alla Prima International. I have exhibited nationally in various juried competitions and shows. My work has been featured in several fine art publications such as International Artist, American Art Collector, Southwest Art, Galleries and Artists of the South. You can read these articles and view my work online at


Juried Show Fall 2012

Juried Show Fall 2012

Jason Tako

First Place When you think of Fall colors, what names of paint color come to your head first? I generally use a limited palette of Cadmium Lemon, Cadmium Red, Ultramarine Blue and Titanium White. Given this limitation (pun intended) I don’t generally think of a particular pigment name, just the fact that I’m going to use a lot more Cad. Lemon and Cad. Red than normal. Do you most often paint from photographs, a mental picture, or real life? For my wildlife, I have to use photos since animals don’t pose. However, for my landscapes, I almost always work from smaller field studies that I have painted on location, as well as photos. The field studies are extremely important. They give me the accurate values and colors that a camera can’t capture. Also, since I have already painted the scene while standing in it, I have an organic connection that gives me more confidence in the studio. This confidence can manifest itself in the freedom to change things around to create a more pleasing composition. The photos are usually used for details that I may not have had time to capture in my field studies. What do you do when you have a creative block? I do everything from calmly putting the painting away for a while to sailing it across the studio like a frisbee. I strongly recommend the former solution. But I have come to realize that most of my blocks, or problems, stem from poor preliminary planning and impatience in getting started.

What painting of yours has the most meaning to you and why? This is a very tough question, as there are a number of paintings that have meaning for me. For instance, there is one of my beautiful wife that I did a few years back. It almost sold, but I now have it hanging in my studio. I also have paintings I did of our children that hang in our home. As far as landscapes, I have one called “Early October Wetland” that is on my website. This scene depicts a wetland on my childhood bus route in rural Minnesota. This scene has a lot of meaning for me. Plus I love the way I handled the brushstrokes.

What is on your easel right now? Honestly, nothing at this time. I just finished a show, and I’m working on a bunch of small preliminary pencil sketches to work out new landscape compositions. Like I said, if I don’t get it right, or at least close in the preliminary process, I’m just creating future frustration for the easel. About Jason Tako Jason started drawing at a young age. It was discovered by his teachers and peers that he possessed a knack and desire for artwork, a desire that he pursued until his senior year when he switched to playing electric bass. About 10 years later, after realizing how much he missed being outdoors and recording his observations, Jason bought a sketchbook. He painstakingly worked his way from pencil to watercolor while using nature and wildlife as his subject matter and teacher. A love for wildlife and landscape came natural being that he was born and raised in rural Minnesota. . Jason went to college and earned his degree in Applied Visual Arts and was encouraged by his teacher Bara Arens to pursue a career in fine art. Jason furthered his studies under renowned landscape artist Scott Christensen and a constant passion for plein air painting. Using a soft and limited palette that usually consist of only the three primary colors plus white, Jason seeks to portray reality in both form and light. “Light affects form, but form also affects light. We do not paint light only, we also paint what light illuminates. Even light needs something to shine on for us to see.” Jason’s use of soft edges, textures and varied thicknesses of brushstrokes shows his search for creating paintings that combine lighting along with a strong feeling of texture, form and solidity. This gives his work a look and feel that is refreshing and unique among today’s wildlife and landscape art. “The human eye doesn’t see every single feather, hair or branch in perfect outline, it sees masses and shapes or color, it sees structure and light. These objective images translate into a subjective emotional human response. This is what I want people to see and feel in my work. 30

Juried Show Fall 2012

What is the most challenging part of your creative process from blank canvas to finished piece? Making compositional decisions and judgements, especially when a piece is almost finished. Many times there is no right or wrong solution, just preferences. I can drive myself crazy deciding if I should put a tree branch here, or a sky hole there. I always seek perfection even though I know I will never really reach it.

Kristin Grevich I believe that artists are born with a gift to see the beauty of this earth. The beauty is so breathtaking that we are driven to create and share our visions. These paintings are from the show called: “The Gift� I received a gift from Beverlee of a cabin in Northern Minnesota. From this gift came paintings of the people, life, animals and beauty of the northern landscapes.

TIM LINCOLN Portraits and Commissions

Barbara Haviland

ABSTRACTING.... Why Abstracts? As a child, my parents took my sister and I to many many places of beauty. Looking back, I think the things that made an impression on me were not so much the actual sites, but the color combinations, the contrasts between light and dark and soft and hard edges. Painting abstracts gives me the chance to focus on just those make them more important than just trying to replicate a scene or a view of something tangible. By narrowing the focus of my work to just the elements that made me say, “yes, that moves me, that focuses my emotional response”, I can portray and pass on what I experience. The finishing of a painting is very much tied to work and focus. I cannot paint by just thinking about it. The painting gets done when I sit in front of the canvas and apply paint. This sounds simplistic, but even on days when I don’t seem to be accomplishing much with the application of paint to canvas, I am moving forward. As long as I am in the moment and continuing to work, I eventually get to a place where good things begin to happen....where the hand and the paint take over, and the rest of me just follows along. This doesn’t sound particularly mysterious or intuitive, but much of abstract painting is just about doing the work, applying the paint, spending the time, and getting into the mental zone.

Nancy Eckels

Nancy Eckels

Condition Red 36 x 24 Acrylic

Abundant Joy 48 x 72 Acrylic

View Through Autumn 48 x 48 Acrylic

Mingle and Merge 40 x 40 Acrylic

Contemporary F

Hall Groat II NY Critic Review

by New York Art

A Review of Artist Laurie Pace Hall is taking a month off for the Holidays and so in the slot this month is a small write up he did on Texas Artist Laurie Pace in 2008.

“The work of Laurie Pace is firmly rooted in both the classical ideal and 20th century Modernism along with nuances of 19th century Barbizon school romanticism. Similar to many postmodern artists, Laurie’s work varies in form and makes witty allusions to artistic sensibilities from the past. Her paintings speak volumes regarding the sensual and evocative nature of visceral oil paint. The manner in which Laurie handles this classic medium reaches far beyond the mere objectiveness of the subject at hand, and touches upon such elements as timeslessness, compassion and perhaps even grace. A painting of a horse is not merely a horse, but an iconic expression of the omniscience of all nature. The viewer is lured in through the use of symbolic colors and sassy paint handling, and can’t help but experience similar sensations as the horse, whether it be vulnerability or longing.” Hall Groat II Professor of Art Broome Community Colleg President of the New York Art Collection 39

Fine Art Review Critic Hall Groat

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


Hall Graot II NY Critic Review

Texas Artist Debbie Lincoln

Debbie’s New Year’s Challenge 50 Cows over 50 Days When asked why the cows and what direction was the challenge, Debbie replied: “I have been thinking of ways to challenge myself without paying an arm and a leg and going to workshop after workshop. One way to send the brain in different directions is to limit the available colors to paint with limiting the palette. I have done this before with mixed results.” Currently she has had many cow images submitted to her for these small paintings. If you are into cows... this is the artist you want to send your favorite cow photo to immediately.

Blog Review

Nancy Eckels

Rick Heck

Lorrie Boydston

Rick Heck

Elizabeth Chapman

Kim McAninch

The artwork found on the pages of is a bounty of color and style. The strength of this art work will amaze you. You might want to subscribe to this blog for updates.

Elizabeth Chapman

Nancy Eckels

Rick Heck Lorrie Boydston

Nancy Eckels


Kim McAninch

Abstract Artist Spotlight


Nancy Eckels

Abstract Artist Spotlight

Abstract Artist Spotlight

Elizabeth Chapman

Mary Jo Zorad

Abstract Artist Spotlight

Abstract Artist Spotlight

Kimberly Conrad

Rick Heck

AbstractArtist Artist Spotlight Florida Spotlight

Daily Painters Abstract Gallery










Daily Painters Abstract Gallery

Daily Painters Abstract Gallery









Daily Painters Abstract Gallery


Bob Coonts

Linda McCoy

Coastal Collections

Kimberly Conrad Discover your personal sea coast to enjoy year round, From Conrad Coastal Collections.



Starlight Run

30 x 40 Acrylic Overlays on Canvas

Oil Painting DVDs Professor Hall Groat II Step by Step Demonstrations

Vickie Guthrie

12x16 oil “Hecho in Mexico”

Glimpses of Life through Soften Realism Artist of Texas

DAVID PATTERSO Glass Sculpture 63



aily Painters.comDaily

Delilah Smith

Gerald Schwartz

Cori Soloman


Connie Chadwell

Carol Marine

Carmen Beecher


Catherine Nolin

Carol Carmichael

Julie Ford Oliver

Gretchen Kelly

Karen Margulis

Filomena Booth

Dreama Tolle Perry

Tom Brown


Sarah Sedwick

niel Peci

Diane Whitehead

Justin Clements

k Adam Webster

Jamie Williams Grossman

Hall Groat II

Kay Crain

Jo MacKenzie

Mary Maxam

Cathleen Rehfeld

Barbara Jaenicke

Gerard Boersma

Brenda Ferguson

Jeanne Illenye

Robert Joyner

Carol Nelson


Collection Starters under $200

Carol Schiff $150


6 x 12 inches

Linda Rupard $150

15 x 22

6 x 6 inches

Collection Starters under $200

Maryann Lucas $100

Collection Starters under $200

Sunny Williams $199

Tim Lincoln $175 69

12 x 12 inches

18 x 14 inches

Maryann Lucas $50

10 x 12 inches

6 x 6 inches

Collection Starters under $200

Patty Ann Sykes $149

Collection Starters under $200 MaryAnn Brooks $150


20 x 16 inches

8 x 6 inches

Collection Starters under $200

Carol Schiff $96

Collection Starters under $200

Carol Schiff $160


8 x 10 inches


Collection Starters under $200

Maryann Lucas $50

7 x 5 inches

Mary Jo Zorad


Artist of Washington

Marie Fox

Soaking Up Some Sun

n on a Far Away Beach


Diane Whitehead

Hall Groat III

Making Memories and Keeping Them Close.

American Fine Artist

A Little Bit of Something Old and Dear.

THE COLORS OF TEXAS Dutch Art Dallas Texas 83

Fourth Annual Showing of the Artists of Texas at Dutch


Art in Dallas, Texas November 3rd through December 31st.


Nancy Medina


Dutch Art Gallery

Painting by Kristine Byars

Visual Language Contemporary Fine Art  

Visual Language is the common connection around the world for art expressed through every media and process. The Artists connects through t...