contemporary fine art
Artspan . VL
September Volume 2 No. 9
Heather Lara HeatherLara.com VisualLanguageMagazine.com - VL Magazine | 1
Contemporary Fine Art
VisualLanguageMagazine.com Subscribe Free Today. September 2013 Vol 2 No 9 @GraphicsOneDesign1998-2013 2 | VL Magazine - VisualLanguageMagazine.com
VL Cover Artist
Heather Lara Expressions of our Living World Southwest Art Magazine, Artistic Excellence 2012 Third Place, feature in December Issue San Diego County Fair, Fine Art Competition 2012 Best in Show First Place Drawing - Color Second Place Drawing - Color Second Place Drawing - Black & White Second Place Pastels Honorable Mention Drawing - Black & White People’s Choice Award San Diego County Fair, Fine Art Competition 2011 Second Place Drawing - Black & White Honorable Mention Drawing - Black & White Sponsor Award Peoples Choice Award Orange County Fair, Fine Art Competition 2010 Division Award Second Place Illustration San Diego County Fair, Fine Art Competition 2010 San Diego Award First Place Drawing - Black & White Peoples Choice Award Irving Art Association, 8th Annual Wildlife Juried Art Competition 2009 Second Place Award Orange County Super Fair, Fine Art Competition 2009 Second Place Award Pastels Third Place Award Illustration Honorable Mention Pastels Employee Choice Award Pastel Society of San Diego, 26th Annual Juried Exhibition 2009 Second Place Award Audubon Artists, Inc. 66th Annual Exhibition 2008 Art Students League of New York Award Atlanta Artist’s Center National Juried Exhibition 2007 Sponsor Merit Award RFAL & NMMAS 24th Annual Juried Show 2007 People’s Choice Award Sponsor Recognition Award
artspan VisualLanguageMagazine.com - VL Magazine | 3
Amy Hillenbrand amyhillenbrand.com 4 | VL Magazine - VisualLanguageMagazine.com
Painterâ€™s Keys - Robert Genn 17 ARTSPAN New Works - 30 CFAI Colors on My Palette 36 Nancee Jean Busse and Carmen Beecher Read the up close and personal interviews from two CFAI.co artists. Find out more about what they use when painting and things that are special in their lives.
Hall Groat II Daily Painting in the New Millennium 50 Hall Groat II covers the topic of daily painting tracing it back 32,000 years. Discover the differencetoday with the technology age and its effects on daily painting.
VL Studio Visit with UK Wildlife Artist Robbie Graham 58 Robbie Graham is a UK based artist born in West Germany and currently living in Tenterden, Kent,UK.
Artspan Studio Visit with American Wildlife Artist Heather Lara 74 Heather Lara was born and raised in New England where she developed an appreciation for nature at an early age. Sheâ€™s lived many places since her childhood but now happily resides in Temecula, California with her husband, two small daughters and too many critters to mention them all.
VisualLanguageMagazine.com - VL Magazine | 5
VL Studio Visit Terry Lee 92 Capturing his animals in a moment of time and in all of their majestic beauty, his impressionistic style, along with his magnificent sense of color, gives new meaning to Africaâ€™s spectacular scenery and wildlife.
Artspan interview Benjamin Cheshire 102 Enjoy the latest Artspan Interview with Wildlife Artist Benjamin Cheshire.
VL/AOT Studio Visit Pamela Blaies 116 Pamela is a native Texan. She was born in Irving, raised in the Houston area and attended high school in Georgetown. After graduating from Baylor University with a degree in Business Administration, she was ready to spread her wings and experience more.
VL Studio Visit with Willd Life Artist Diane Whitehead 128 My dream had been to be juried into the Western Masters show in Great Falls, Montana and acceptance into prestigious juried shows throughout the United States. My dream has come to fruition and I continue to dangle my own carrot in front of my nose and challenge myself daily.
Artspan Spotlight Dara Oshin 146 I begin my process by creating a rock sculpture working within the physical limitations of gravity while balancing the rocks visually and in space.
6 | VL Magazine - VisualLanguageMagazine.com
WAOW Betty Gates 150 Betty Russell Gates: Born on an oil lease in Oklahoma in 1927. Her art career began with John Frank, Frankhoma Pottery in Sapulpa, Oklahoma. After a brief time at Arkansas A&M, Gates graduated from Art Instruction Inc. in commercial art.
Charles Spinetta Winery and Wildlife Gallery 154 Wildlife art is an ancient artform shared by all our world’s cultures. We preserve this heritage in the modern age. Visit, enjoy a glass of wine, and view hundreds of pieces of artwork in the 3,000 square foot gallery.
ARTSPAN Photographer Pauline Fowler 164 Zoos are now Arks of huge import for the wildlife of this world. I have been to many now over the years, and when I photograph the animals within I try to create with the ensuing images a rapport with the viewer, something to make them really look.
CFAI.co Art Challenge “Tropical Days” 172 Best of Show, Judy Batterson, “Paradise Found”
VisualLanguageMagazine.com - VL Magazine | 7
Artist of the Day “Art is not what you see, but what you make others see.” ― Edgar Degas
Sign up today.
artistofthedayvl.blogspot.com If you want to be featured on Artist of the Day, Contact Visual Language Magazine.
8 | VL Magazine - VisualLanguageMagazine.com
Aspen S P A C E S by Lelija Roy www.lelija.net email: email@example.com
Available from: Art on a Whim Gallery 100 N Main St--Towne Square Breckenridge, CO www.artonawhim.com (970) 547-8399 James Ratliff Gallery 671 State Route 179--The Hillside Sedona, AZ www.jamesratliffgallery.com (928) 282-1404
VisualLanguageMagazine.com - VL Magazine | 9
Niki Gulley Do
10 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 11
12 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 13
Miradafineart.com 14 | VL Magazine - VisualLanguageMagazine.com
Miradafineart.com VisualLanguageMagazine.com - VL Magazine | 15
VISUAL LANGUAGE MAGAZINE Contemporary Fine Art
Visual Language Magazine Staff Editorial Editor -in-Chief Laurie Pace Executive Editor Lisa Kreymborg Consulting Editor Nancy Medina Consulting Editor Diane Whitehead Consulting Editor Debbie Lincoln Feature Contributor Robert Genn Painterâ€™s Keys CFAI Contributor Kimberly Conrad Feature Editor Art Reviews Hall Groat II Feature Writer Barry Scharf Feature Writer David Darrow 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 2 No 9
http://DyanNewton.com 16 | VL Magazine - VisualLanguageMagazine.com
Robert Genn’s Studio Book
The cold-easel syndrome July 30, 2013 Dear Artist, The complaints are so widespread as to suggest there may be an epidemic. While many mention the word “obsession,” the malaise takes many different forms. Here’s one from yesterday’s email: “I’m compulsively watching art instruction DVDs in place of doing actual paintings. I’m obsessed! What can I do?” Others include, “I spend all my time preparing to work, sharpening pencils, cleaning brushes, etc.” “I’m completely occupied with my aquariums and all my fish. They keep breeding.” “I go to the beach every day and hang out with girls.” It’s called “The cold-easel syndrome” (CES) and it happens sooner or later to most artists. Fact is, these complaints and excuses expose a variety of natural human frailties. The examples above indicate fear of failure, need for nature’s nourishment, and loneliness. There are lots more.
Painter’s Keys - Robert Genn
Painter’s Keys with Robert Genn
Afflicted artists need to self-examine. In studying my own distracted periods and those of others, I’ve often found one or two minor setbacks that have derailed the progress. The overly-sensitive artist may be tripped up by an insignificant rejection or misunderstanding. Ambitious projects can bog the artist down. Not-wanted or difficult commissions can block the will to work. After such events, CES can fester for months, even years. Unexamined trip-ups can lodge invisibly in the subconscious where they are difficult to dig out. My advice: Dig them out early. Unlike painters, the vast number of workers work for someone else. Self-employed easel-work requires a self-directed problem-solving approach and a few self-taught skills. One such skill is “pump priming.” In our case--Squeeze out. Get started. Get involved. Make mistakes. Let the work tell you what it needs. Find the joy. Fall in love again. Best regards, Robert PS: PS: “As long as you can start, you are all right. The juice will come.” (Ernest Hemingway) “You don’t have to be great to start, but you have to start to be great.” (Zig Ziglar) Esoterica: “I’m restoring my ‘52 MG.” “I spend most of my time just looking at my sterile work.” “Now that I have my new studio, I never go in it.” “Since I won a prize in a Signature show, I don’t feel the need to paint anymore.” “I’m a workshop junkie--I only paint at workshops.” “I tape and re-watch episodes of Honey BooBoo.” “I’m finding my church more fulfilling for the time being.” “My boyfriend is teaching me backgammon.”
VisualLanguageMagazine.com - VL Magazine | 17
nathaliekelleyart.com 18 | VL Magazine - VisualLanguageMagazine.com
Fine Art Watercolor website.com
VisualLanguageMagazine.com - VL Magazine | 19
20 | VL Magazine - VisualLanguageMagazine.com
DyanNewtoncom Visit my website for workshops and class schedules.
Colors of Life
VisualLanguageMagazine.com - VL Magazine | 21
Caroljosmidt.com 22 | VL Magazine - VisualLanguageMagazine.com
Richard Levine Pastel Painter - Landscape and Figurative
www.richardlevine.net contact: firstname.lastname@example.org
VisualLanguageMagazine.com - VL Magazine | 23
24 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 25
Nancy Medina Fine Art
Put a little joy in your brush and join award winning artist Nancy Medina for a flower painting workshop. Named one of todayâ€™s best floral and botanical artists by American Art Collector, Nancy is an instructor for the Dallas Arboretum whose paintings are collected around the world. Nancy teaches a loose, bright technique, and shares all her favorite tips and shortcuts for making flower paintings sing with color. Upcoming workshops include: Tennessee . Florida . San Diego Missouri . Texas
Visit Nancyâ€™s workshop page to sign up today!
http://nancymedina.fineartstudioonline.com/page/1929/workshops Flower Painting Workshops
NancyMedina.com 26 | VL Magazine NancyMedina.com VisualLanguageMagazine.com
Nancy Medina Rose of Sharon and Hydrangeas 16X20
Breakfast Nook Hydrangeas and Oranges 16 X 20 Oil
VisualLanguageMagazine.com - VL Magazine | 27
Rare Gallery Fine Art RareGalleryJacksonHole.com
28 | VL Magazine - VisualLanguageMagazine.com
Laurie Justus Pace
VisualLanguageMagazine.com - VL Magazine | 29
30 | VL Magazine - VisualLanguageMagazine.com
Eric Bodtker EricBodtker.com
32 | VL Magazine - VisualLanguageMagazine.com
VL Rees CONTEMPORARY REALISM AND BEYOND
VLREES.COM VisualLanguageMagazine.com - VL Magazine | 33
Art websites. Totally customizable. Drag & Drop. Unlimited pages. Integrated shopping cart. Prin
engaged in broad spectrum of creating art. expressing through a medium. innovative using imagination, talent or skill to create work with an aesthetic value. those who create in the context of society and culture to tell a story, express a feeling, record life. color addict. rhythm. balance. discord. joy. love. life. passion.
collectors of art. passionate about life. inspired by design. engaged with color. enjoy discovery. strong for the journey. addicted to creativity.into space. intrigued by the story. fascinated by line. spellbound by expression. charmed by rhythm. mesmerized by feelings of love. anger. life. happiness. saddness.
| VL Magazine -TODAY. VisualLanguageMagazine.com JOIN34ARTSPAN Easy artist website templates. Design your own unqiue website. Se http://www.artspan.com/idevaffiliate/idevaffiliate.php?id=195
nts on Demand. Blog. Searchable database. Social media enabled. Slideshows. Stats and more
builds community. connects public to visual art. platform for artists to thrive. values the arts. nurtures the arts. promotes creativity and exchange between members and collectors. social media. slideshows. stats. new easy artist/gallery websites. be unique. prints on demand. cost $15-20 a month.
http://www.artspan.com/idevaffiliate/idevaffiliate.php?i http://www.artspan.com/idevaffiliate/idevaffiliate.php?id=195 BECOME A MEMBER
VisualLanguageMagazine.com - VL -20 Magazine | 35 ell your work using integrated shopping carts - Prints on demand. Low cost $15 a month.
CFAI.co Colors On My Palette
Nancee Jean Busse http://www.nanceejean.com http://www.cfai.co/colors-on-my-palette/nancee-jean-busse
When did you realize you loved art and wanted to be ‘an artist’? I don’t remember a time, EVER, when I wasn’t an artist! Some of my first memories were of drawing and coloring. When I was in elementary school in Peoria, Illinois, we had art class only once a week. I would get SO overwrought with anticipation before art class my hands would shake. Once I got so excited waiting for the time to arrive, I couldn’t stay in my desk and was apparently jumping around and being disruptive. (me?!) My punishment was, oh no!, that I had to skip art class that week. Now, I get to paint whenever I want (well, almost). My studio is full of wonderful paints and brushes and canvases and light and color and all of the things that make my art sing. Who has been the greatest influence from your past to mentor you to this career? My other “vice,” besides painting, is reading. My father was an avid reader as well, and filled my childhood home with all kinds of books. My earliest influence was the illustrations I pored over in those books. We had a fabulous copy of The Rubáiyát of Omar Khayyám, packed with vibrant, rich vellum color plates. I loved the combination of pure primary color and realistic subject matter elaborated with eastern decorative themes. We had a copy of a turn-of-the-century period novel titled “A Mouse Is Born,” illustrated by Aubrey Beardsley. His Art Nouveau blackline illustrations were inspirational. I loved the detail, the contrast, and the fact that he never broke up a mass! We also had several huge old leather and gilt books illustrated by Gustav Doré, Don Quixote, Paradise Lost, The Bible Gallery, Fontaine’s Fables, and more. Doré’s ability to render realistic detail and use of line were a HUGE influence!! And the mood he could set!!!... I could go on and on about how those book illustrations rang bells and blew whistles for me! Who is your mentor today, or another artist you admire and why? About 12 years ago, after a long career of illustrating, I took a pastel painting class at our local art center. My teacher was Bev Lee, an incredible portrait artist (and now my dear friend). Bev helped me to get out of my illustrator’s headset and begin to think more like a painter. (I still have lots of work to do there.) Most of my illustrations were blackline; very graphic and tight, with no color information. I had to start at square one with color and color theory. Bev helped me to begin the process of loosening up and lightening up. I was inspired to begin painting because I live in one of the most beautiful spots in the world: western Colorado. I wanted to paint that beauty; as much of it as possible. Because of that, I have been inspired by painters of the American West: from Charles Russell to Jill Soukup, with a myriad of others in between. Bill Anton, Clyde Aspevig, G Russell Case, Ralph Oberg, Daniel Smith, Jim Wilcox... and the many other painters of the American West who successfully strive to communicate the beauty of this incredible place we are privileged to live in. Who would you love to interview? I would like to visit with one of the great illustrators, like Maxfield Parrish or Arthur Rackham or Kaye Neilson. I deeply admire their ability to render the landscapes of their imaginations with such a brilliantly realistic approach.
Read more at http://www.cfai.co/colors-on-my-palette/nancee-jean-busse/ 36 | VL Magazine - VisualLanguageMagazine.com
Read more at http://www.cfai.co/colors-on-my-palette/nancee-jean-busse/ VisualLanguageMagazine.com - VL Magazine | 37
CFAI.co Colors On My Palette
When did you realize you loved art and wanted to be ‘an artist’? When I got my first crayon. I can think back to my childhood and still smell what a new box of crayons smelled like. Who has been the greatest influence from your past to mentor you to this career? Even though my mother died when I was ten, the last Christmas gift she ever bought me was an easel. It was a child’s easel, but I had it until I moved away from home. She set me on my creative path. Who is your mentor today, or another artist you admire and why? Richard Schmid is an absolute master. I study his book “Alla Prima, or Everything I Know About Painting,” constantly. He has that elusive ability to paint impressionistically yet make things look very real. I also love the work of Qiang Huang. He is a wonderful instructor with a gentle spirit and a scientific mind. He provides a wealth of information and creates vibrant paintings that just knock me out. What is your favorite surface to paint on? Describe it if you make it yourself. I like Panelli Telati canvas panels, as well as Raymar panels. For large paintings, linen is wonderful. What brand of paints do you use? I use mostly Winsor Newton and Gamblin paints. Do you have a favorite color palette? Yes: Titanium White, Lemon Yellow, Cad Yellow Medium, Yellow Ochre, Cad Orange, Cad Red Light, Alizarin Crimson, French Ultramarine, Cerulean Blue, Burnt Sienna, Sap Green, Viridian. It varies sometimes, but not much. What is your favorite color in your closet? A coral color, sort of the color of a Spoonbill. What subject appears the most in your paintings and why? The ocean; I live across the street from it, and I love painting it. It changes every day in movement, shapes and color. Today it is a cool, misty gray with big surf. How often do you paint? How many hours a week? I paint three or four days a week, two to four hours a day. I spend way too much time on the computer, but if I am painting to sell, that is a necessity. How would you like to be remembered? As a good person, then as an accomplished artist.
Read more at http://www.cfai.co/colors-on-my-palette/carmen-beecher 38 | VL Magazine - VisualLanguageMagazine.com
Read more at http://www.cfai.co/colors-on-my-palette/carmen-beecher VisualLanguageMagazine.com - VL Magazine | 39
DailyPainters.com 40 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 41
Realistic Wildlife, Landscape and Floral Fine Art
A Mother’s Love 14 x 20 Watercolor
“I traveled to Africa last spring and took a photo of these two elephants. They are a mother and daughter. It just seemed so sweet I had to paint it.” Sheila Bledsoe
SheilaBledsoe.com 42 | VL Magazine - VisualLanguageMagazine.com
Shirley Anderson Art Painting Landscapes and Florals in Pastel
Maryland Artist Lakeside by Shirley Anderson
shirleyandersonart.com email: email@example.com VisualLanguageMagazine.com - VL Magazine | 43
44 | VL Magazine - VisualLanguageMagazine.com
lindamccoyart.blogspot.com Commissions Welcome. Landscapes, Figurative and Still Life
VisualLanguageMagazine.com - VL Magazine | 45
46 | VL Magazine - VisualLanguageMagazine.com
American Fine Artist
Hall Groat II
Pocket watch with Lemon & Creamer 11x14 in. Original Oil on canvas Hall Groat II
VisualLanguageMagazine.com - VL Magazine | 47
David R. Darrow
so many things to paint. so little time.
Man of Renewal
48 | VL Magazine - VisualLanguageMagazine.com Kenyan Daughter
Portrait of Anne Gillum
David R. Darrow Realistic Impressionism Accepting Commissions firstname.lastname@example.org www.DarrowArt.com Subscribe to Private Mailing List: www.DarrowArt.com/list/ Etta
VisualLanguageMagazine.com - VL Magazine | 49
Hall Groat II
Daily Painting in the New Millennium By Hall Groat II, Professor and Chairperson, Art and Design Department, Broome Community College ___________________________________ Hall Groat II Distant Learning Painting School, DVD Instruction Series http://www.HallGroat.com
The tradition of “daily painting” began long before modern day oil paint was invented, and many speculate that the first paintings were created 32,000 years ago within the cave walls of Grotte Chauvet in France. These early paintings depicted men hunting animals and were conceived using natural Red ochre pigments that were dug from the earth. Painting as an expressive art medium has been embraced and revered by millions of people throughout the centuries as a form of visual communication intended to be physically experienced. If the theatrical culture of Ancient Greece only knew that we modern day people now watch drama on televisions, computers and Ipods, what would they say? In what ways have these new digital mediums altered the expressive nature and message of traditional theatre? The new millennium has brought with it an exponential growth in cutting edge Internet technologies, such as the blog, message board and video sharing web sites that have required people to learn how to communicate with one another in new and challenging ways. American artist, Duane Keiser, in 2004 was one of the first to chronicle the tradition of “daily painting” and the creative process within the context of the blogosphere for people to experience and learn from globally. This innovation inspired thousands of other artists to do the same, which has lead to the emergence of what may be deemed as a cyberspace culture of artists that embrace fine art painting. What is daily painting? For many artists it is the discipline of completing a single painting each day in solitude, away from the confusion of life. The painter must designate a time daily time to complete the painting, and often is unable to wait for that ideal moment of inspiration. It’s an essential time each day that the painter both embraces and savors. Many regard it as a meditative “expression of the moment” and enlightenment. Others regard the completion of the painting in a single session as a means of chronicling their spiritual diary. The ensō. Then there are those who perceive it as an artistic obsession or welcomed daily struggle that forces them to complete a painting to be placed into a virtual exhibition. Why does this motivate artists? There exist various reasons, and perhaps the desire to be socially interconnected with like-minded artists and art connoisseurs from diverse backgrounds and cultures is one rationale. Indeed, the daily painter craves admiration for their work, to mature as an artist through honing their skills, and maybe even to learn from studying and reading about other’s paintings archived on blogs.
50 | VL Magazine - VisualLanguageMagazine.com
It is undeniable that there exists a new and refreshing sense of ethos among painters. The art museum, gallery, and critic are of less concern to the painter who independently exhibits their work daily to a global audience, for it is the digital facsimile of the painting that is free to speak in diverse tongues—cross-culturally on its own, independent of an overarching political machine, as in a gallery or a museum. Painters are now able to discuss their work with others residing clear across the world, and have developed extensive e-mail lists that enable them to both expose and teach people to art through sharing images and their personal written commentaries on a regular basis. Quite often the people who receive the daily images are geographically or socially marginalized, and have never been granted the opportunity to learn about art or cross paths with an artist. This also holds true for the beginning artist in many instances, especially the ones who reside within countries that impose restrictions on the public exhibition of art. The painting and the creative act are being digitized and presented together as one to divergent cultures. May it be that creativity is now being channeled into a more holistic expressive art form that has been set free? The modern day “blog,” coupled with video sharing technologies has broadened the tradition of painting into a new communicative virtual reality world. Cyberspace is rapidly evolving and the potential social ramifications are not completely understood. What we do know however is that artists are strategically working together globally to use these new technologies in a manner that is promoting constructive dialogue about art and life. The conversations about paintings are “building new bridges through breaking boundaries,” and perhaps these dialogues will inspire others to join in the mystical healing nature of painting. At this point there exist several on-line organizations that collectively exhibit the work by daily painters, and also serve as platforms for discussion. These include, Dailypainters, The Artist Network Forum, Daily Artist, Daily Painters Community, Daily Painter’s Guild and Daily Paintworks. Dailypainters, the largest of these organizations, was the first to curate an exhibition revolving around a central theme. Artists painted and wrote about their perceptions of the natural environment, and many were instrumental in eliciting meaningful global discussion regarding the current state of the earth. The paintings being produced by the artists affiliated with these networks are prolific, reflecting the current pluralistic tone of the art world. The predominant mood of expression, however, is rooted in ala-prima representational painting that strives to reveal the extraordinary within ordinary daily life. The work is often both humble in nature and scale, reflecting the genuine perception of the artist. Aesthetics, along mastery of craft and truth of form and idea are tenets that daily painters seem to embrace. The work certainly does not echo the shortsighted and often disingenuous nature of contemporary shock and sensationalist art that is directed towards provoking political debate. It is without question that the daily painting Internet phenomenon or “social movement” has touched the lives of thousands internationally, and is currently challenging the viewpoints of conventional artistic establishments. It is both liberating the painter and democratizing the manner in which art is exhibited and being deemed critically noteworthy. A global view of fine art painting is emerging at a time in history when we must reevaluate the infrastructures of our societies. Perhaps, what Albert Boime, Art Historian, University of California, Los Angeles expresses is now emerging? Boime states, “An understanding of imagery will show that we are not yet too fallen and depraved to be able to reform the world in the name of suffering humanity http://www.HallGroat.com
VisualLanguageMagazine.com - VL Magazine | 51
Gail Faulkner Watercolors www.gailfaulknerstudio.com
52 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 53
Benjamin Cheshire BenCheshireArt.com 54 | VL Magazine - VisualLanguageMagazine.com
KAZUKO STERN WAOW Associate Member
Musicians at Central Park Oil 24 x 36
www.kazukostern.com VisualLanguageMagazine.com - VL Magazine | 55
Dyan Newton Colors of Life
56 | VL Magazine - VisualLanguageMagazine.com
Visit my website for workshops and class schedules.
VisualLanguageMagazine.com - VL Magazine | 57
Studio Visit Wildlife Artist
58 | VL Magazine - VisualLanguageMagazine.com Robbiegrahamart.co.uk
http://www.marineartsgallery.com/ VisualLanguageMagazine.com - VL Magazine | 59 Robbiegrahamart.co.uk
Studio Visit Wildlife Artist
Robbie Graham is a UK based artist born in West Germany and currently living in Tenterden, Kent,UK. Robbie served in the R.A.F before joining Kent Police, where he served for twenty two years. Robbie left the police this year to follow his passion to create his photographic like paintings and at the same time, support a number of conservation programs. Robbie had an extremely interesting career as a police officer, having served his last eight years as a detective chief inspector. He was the borough commander at Maidstone, the county town of Kent. Robbie said, ‘It was a great place to work and as the commander of the station I had the privilege of hanging lots of my wildlife paintings all over the building. It made the station bright and very different from the norm!” Robbie also spent five years as the Head of Kent Special Branch where he was responsible for all counter terrorism operations across the county of Kent. Robbie said ‘I found this time in career the most challenging.’ In 2009 Robbie was selected to undertake a secondment in South Australia for three months. There he was sworn in as an uniformed Australian police chief inspector and headed up operations in Port Adelaide. Robbie said ‘I really enjoyed my time in Australia, having never been there before. It also gave me a wonderful operation to explore the wonderful wildlife there in my down time’. Whist in the police, Robbie held a number of fund raising solo exhibitions where he raised much needed funds for Children Victims Of Crime and big cat conservation programs. Robbie began painting approximately 10 years ago and since then his work has become so popular that he decided to ‘make the leap’ from police officer to professional wildlife artist. His work can now be seen in collections world wild. He is a signature member of Arts For Conservation and also a featured artist for Daler Rowney, one of the world’s largest art material suppliers . His art work ‘ Always Alert’ is used by Daler Rowney for their header boards displaying their designer gouache range.
60 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 61
Studio Visit Wildlife Artist
PHOTO â€˜ Always Alertâ€™ this painting can be seen in most art material suppliers across the world above the Daler Rowney Designer range . 12 x 7 inches, gouache on mount board. ( Private Collection ).
62 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 63
Studio Visit Wildlife Artist
PHOTO ‘ The Connection’ Gouache on mount board . Gouache on board. 14 x 22 inches. (Private Collection) This painting was completed by Robbie after visiting a zoo in Europe. Robbie said, ‘I recognize the need for well kept zoo’s where animals can flourish in safety and remain protected, but on this occasion I felt extremely sorry for this wonderful tiger and decided then and there to paint him. In this piece I wanted to capture the almost helplessness of this magnificent creature.’
64 | VL Magazine - VisualLanguageMagazine.com
Robbie has travelled the world to secure good reference material. Robbie said ‘I also enjoy photographing wildlife and building my knowledge in relation to conservation issues, I have a particular interest in the big cats, as can be seen in many of my paintings!’
PHOTO . ‘Watching’ Goauche on board. 16 x 30 inches. Robbie is self taught and extremely passionate about conservation. He has provided a number of originals to fund raising charities in order to support them. Robbie said ‘I am always inspired by the many wonderful wildlife artists across the world. Art to me is about creating something that ‘connects ‘ with the viewer and seeks to make them stand back and really appreciate the wonderful creatures we are all so privileged to share this world with. Capturing the true spirit of nature is so important to me. I will always make the eyes the focal point in many of my paintings’.
VisualLanguageMagazine.com - VL Magazine | 65
PHOTO â€˜Intensityâ€™ Painted in gouache on mountboard. (20x30 inches) Robbiegrahamart.co.uk
66 | VL Magazine - VisualLanguageMagazine.com
Robbie’s work has been used to promote conservation programs such as Wild Cats World in Africa and his art can also be seen in most art suppliers across the world, having been selected as the header board for Daler Rowneys designer gouache range.
PHOTO ‘ Into The Light’ Acrylic on masonite. (18 x 24 inches)
Robbie says, ‘My art is not about the application of paint , It’s about making a connection between the viewer and the subject of the painting’. I started using gouache having been inspired by Cark Brender’s a true master of wildlife art. Robbie’s work can be seen by visiting www.robbiegrahamart.co.uk or Robbiegrahamart on Face Book or Twitter.
VisualLanguageMagazine.com - VL Magazine | 67
68 | VL Magazine - VisualLanguageMagazine.com
Vickie Guthrie vickieguthrie.com
VisualLanguageMagazine.com - VL Magazine | 69
Theresa Paden Fine Art
70 | VL Magazine - VisualLanguageMagazine.com
Theresa Paden Fine Art theresapaden.com
VisualLanguageMagazine.com - VL Magazine | 71
Susan Ketcham, PSA Signature Member of the Pastel Society of America
72 | VL Magazine SusanKetcham.com VisualLanguageMagazine.com
Paintings in Pastel
“I want my paintings to remind you that beauty often resides in the tiniest corners and in the simplest of circumstances. I want you to experience a moment of wonder that so simple an object as a pudding cup, a bird’s nest, a rusty bucket of daffodils, or an old tabletop covered with apples and grapes can be beautiful. For me, painting is actually seeing what I am looking at, knowing it intimately. To capture the wetness of an eye, the distortion of glass, reflections in brass, the fragility of an Iris, the down of a feather is just a wonderful way to really see the world.”
- VL Magazine | 73 SusanKetcham.com VisualLanguageMagazine.com
74 | VL Magazine - VisualLanguageMagazine.com
artspan Heather Lara - Wildlife Artist
VisualLanguageMagazine.com - VL Magazine | 75
76 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 77
Heather Lara was born and raised in New England where she developed an appreciation for nature at an early age. She’s lived many places since her childhood but now happily resides in Temecula, California with her husband, two small daughters and too many critters to mention them all. A volunteer job with the Animal Department at the Living Desert in Palm Desert introduced her to a career as a serious artist.
Kiss of Death 8 x 12
“When I was hired by the Graphics Department full time. I expanded my resume by working freelance for the American Wilderness Experience, helping them open their zoo from the ground up by creating many of the exhibit graphics. When we moved to Argentina it was a sharp detour from my rising career path but I spent my time down there collecting dogs and honing my craft - I even had my first solo exhibition at the Centro Cultural Fisherton. Though I don’t have an art degree, the Scientific Illustration classes I attended at the University of California at Santa Cruz helped me develop the techniques I use now and my Biology Degree has given me the necessary knowledge of form and structure to create the extremely lifelike depictions of my subjects. My painstaking attention to detail has created a portfolio rich in the diversity of life, from landscapes and portraits in pastel and watercolor to meticulous wildlife scenes in colored pencil. But what I’m sharing with you here is my love of scratchboard, a unique and challenging medium that really lets me showcase my attention to minute detail. I believe that all of nature has beauty, even the smallest insect, and I hope to share this with others through my art.”
78 | VL Magazine - VisualLanguageMagazine.com
A Glimpse of the Past 8 x 10
VisualLanguageMagazine.com - VL Magazine | 79
80 | VL Magazine - VisualLanguageMagazine.com
Izu 3 8 x 10
artspan Where did you study art? Though I have no Art degree, I’ve gathered education from a number of sources. I went to the University of California, Santa Cruz as an Art major and came out with a BA in Biology instead. The art program was a little creepy for a 17 year old kid away from home for the first time. The few classes I took involved a lot of nude models - picture not-so-pretty hippies and homeless people, if you’ve ever been to Santa Cruz you know what I mean! I did find some graduate courses in Science Illustration that they let me take as an undergrad and it was here that I really learned interesting techniques like scratchboard, carbon dust on cronaflex and stipple. These courses taught attention to detail, following fur patterns, muscle structure, skeletal structure down to the tiniest biological detail and it seemed to fit in with my degree. Over the years I’ve just practiced my art and never shied away from new things. I’m a bit of a hoarder when it comes to art supplies, well who am I kidding - I’m really one major tragedy away from being on the show but I have a very supportive husband that keeps me reigned in and organized. If I read about a new art technique or medium I have to go out and buy ALL the supplies for it and try it, I teach myself through trial and error. Sculpture, woodworking, stained glass, pastels, you name it I have it in my over packed studio and I love it all. I read every art magazine I can get my hands on and I ask a lot of questions from artists that inspire me, some have ignored me but others have been an invaluable part of my education, it never hurts to ask but it can really pay off. How would you describe your style? Obsessive compulsive neurotically focused on detail. I’ve tried to lighten up, loosen up, let go and sketch out something free and quick but I always end up going back in again and again until its hours later and looking like a photograph. I have great respect for artists who can take a subject and create something artistic and interesting from it and yet looks nothing like real life. I just draw what I see. What is the one thing most people don’t know about you? Everybody knows everything about me - I’m a consummate over-sharer. OK ... dolls and clowns freak me out. Why do you paint animals? I’ve always loved animals since I can remember. Anything-creepy crawly, scurrying, running or slithering I liked to pick it up and play with it. My sister received a “How to Draw Animals” book when we were in grade school and somehow it ended up in my room and I copied every page. I loved it! I did my first solo art show in the library of Kelly Lane Elementary school (all of my pictures were done with crayon) and I’ve been drawing ever since. I’m the kind of artist that really has to connect with my subject - it can’t just be a picture in book for me. When I travel I try to visit a zoo or animal sanctuary in whatever city or country I’m in and I spend a lot of time photographing particular animals that I make a connection with. I contact the animal keepers where I can and get the background story for the animal and I feel like it helps me get that extra little bit of inspiration I need. If I do a pet portrait -which is rare - I like to meet the animal and take my own photos if possible. I’ve learned from experience what I need to do to create a magical piece of art, it’s not always possible of course but every once in a while the stars align and you even surprise yourself.
VisualLanguageMagazine.com - VL Magazine | 81
Narmada 3 10 x 10
82 | VL Magazine - VisualLanguageMagazine.com
artspan Why Scratchboard? I’m a detail-oriented artist. I’ve tried to loosen up and I find myself going back to the picture again and again to add this little detail, this little fluff of hair, this little highlight. Scratchboard is one of those mediums where you have to fill your board with lines, there are no short cuts. I started like most artists just drawing with pencil and I found I could never keep the tip sharp enough for the detail I wanted. I graduated to mechanical pens and found myself going smaller and smaller until I was struggling with a 00000 pen tip (I was never very good at cleaning it. Scratchboard gave me the surface and tools to finally get that detail I was striving for. I’ve dabbled in other mediums as well but I particularly love pastels. They speak to my messy side and I think working with all the different colors and blending and highlighting, it taught me enough about color to try coloring scratchboard. I have little patience for anything in my life but when I sit in front of my easel to work I could be there for 12 or 14 hours straight. It’s very cathartic for me. What’s the best advice you’ve ever received? I’d like to say it was the art teacher who had the whole class bring their most prized work of art to class to share only to tell us all to rip it up. The message was supposed to be - you could always do it again and do it better. Well that’s a great thought and it would be nice if it’s the truth but I’m certainly never going to try and find out!! NO, I’d have to say the best advice I got was from an artist residing in Washington DC, can I say her name? Jodi Walsh if I can. She said, very simply “get over it”. What if people steal my work and use it as a screen saver or print it out and hang it in their cubicle at work?? and she said - so what? Get over it. The likelihood that someone will take a tiny file and pirate it somehow and make millions off your work is pretty small, and if they do then you have something you can actually sue them for! In the age of the Internet theft is inevitable, look at it as free advertising because if they think it’s cool enough to swipe it they’ll also show it to their friends. In the end this isn’t what we should be worrying about as aspiring artists, if you’re too afraid to put yourself out there then you won’t BE out there and no one will see you at all. What is the one thing you will never paint? Dolls and clowns What’s the most meaningful recognition you’ve received for your artwork? The second picture I ever sold is still the most meaningful to me. I’ve received dozens of awards and ribbons - 2 best in show even! But this young girl in her twenties, who worked in an office somewhere didn’t make a lot of money, made payments to buy my picture and she told me that when she saw it displayed at the show it made her cry. All she could do was stare at it and feel complete emotion and connection to what I created and it touched her so deeply she stood there in the crowd and cried. Now this just happens to be MY favorite piece as well, of which I have a very close and emotional connection to, and I thought as I walked it to her door to deliver it that I was going to cut and run away at any moment screaming mine! You can’t have it! But I’m glad I didn’t. I handed it over and felt content that it was going to hang in a modest home for someone who was buying it not because it was a good investment or because they are an avid art collector but because, well, she just loved it. I think as artists we all want to evoke some kind of reaction in our viewers that is deep and visceral and it’s a great validation of your work when you see it happen.
VisualLanguageMagazine.com - VL Magazine | 83
What are your goals for the future? I’d like to expand my audience, get represented in a few more galleries and actually pay my husband back for the hoard of art materials I’ve amassed over the years. Above all my goal is to keep having fun. I’m blessed with two beautiful little girls and they deserve the bulk of my attention right now, I figure I’ll have plenty of time to devote to my art career when they’re in their teens and hate me. What galleries represent your work? Celebration Fine Art Gallery, San Diego, California and Metalography Gallery, Temecula, CA
Elusive 8 X 10
84 | VL Magazine - VisualLanguageMagazine.com
Seeing Double 8 x 10
VisualLanguageMagazine.com - VL Magazine | 85
N J Busse Painter of the West
nanceejean.com email@example.com 970.261.2028 86 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 87
SandyMoserart.com Specializing in Wildlife Art SandyMoserArt.com 88 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 89
JANICE WARRINER janicewarriner.com
See my new line of work represented by UGallery ugallery.com/janice-warriner 90 | VL Magazine - VisualLanguageMagazine.com
tatiannaroulin.com VisualLanguageMagazine.com - VL Magazine | 91
TerryLeeArt.com 92 | VL Magazine - VisualLanguageMagazine.com
Wildlife Painter and Sculptor TerryLeeArt.com VisualLanguageMagazine.com - VL Magazine | 93
VL Studio Visit Terry Lee Painter and Sculptor
Capturing his animals in a moment of time and in all of their majestic beauty, his impressionistic style, along with his magnificent sense of color, gives new meaning to Africa’s spectacular scenery and wildlife. Terry believes that traveling to Africa and seeing these animals in their native habitat helps him to see with “African Eyes”. Terry feels that “I do my best to create a sense of energy and action. I capture emotional moments using color and light, sweeping brush strokes and bold swaths of color, drawing the eye into the scene. I want the viewer to feel the intense light and heat of the sun, creating atmosphere and mood”. For twenty years Terry was the owner of a large sporting goods business in Coeur d’ Alene Idaho. Along with the gun and fishing departments, he also included a ski and scuba section. He was a certified scuba instructor for 18 years (N.A.U.I. & P.A.D.I.). Deciding that he needed a change, Terry headed for sunny California. It was there that he went through that “what do I want to be when I grow up” thing. Realizing that his life long interest was actually a passion, he turned to pursue a full time art career. He returned to Idaho and set up his studio in the same building, where the sporting goods store had been. Recognizing the value to himself and other artists in the community, he opened his large studio four nights a week to Life Drawing and Sculpting sessions, providing the model and space to those who are interested in working with the human figure.
TerryLeeArt.com 94 | VL Magazine - VisualLanguageMagazine.com
Terry has created a truly unique style. It reflects a combination of the old masters and a lot of “Terry Lee” bringing a new energy to wildlife art. Terry’s collectors experience a bold usage of color that is refreshingly different from anything they have ever seen. As one admirer quoted at a recent gallery showing, “You are a breath of fresh air in a world of sameness”. Terry enjoys working on large canvas and many of his pieces are five to eight feet long, with some as large as ten feet. These unusually large canvases are perfect for the many corporate collectors he has. Terry Lee’s work can be found in Galleries in Montana,Colorado,California,Washington and Idaho.
TerryLeeArt.com VisualLanguageMagazine.com - VL Magazine | 95
VL Studio Visit Terry Lee
Terry Lee - 1-208-659-4182 http://www.TerryLeeArt.com TerryLee@TerryLeeArt.com All Rights Reserved.
TerryLeeArt.com 96 | VL Magazine - VisualLanguageMagazine.com
TerryLeeArt.com VisualLanguageMagazine.com - VL Magazine | 97
VL Studio Visit Terry Lee
Terry Lee - 1-208-659-4182 http://www.TerryLeeArt.com TerryLee@TerryLeeArt.com All Rights Reserved. TerryLee.com 98 | VL Magazine - VisualLanguageMagazine.com
TerryLee.com VisualLanguageMagazine.com - VL Magazine | 99
Darla McDowell “Daddy’s Boys”
Granny’s Mixing Bowl Oil 18 x 24
DarlaMcDowell.blogspot.com 100 | VL Magazine - VisualLanguageMagazine.com
connie dines "Artistic exposures one frame at a time"
conniedines.com VisualLanguageMagazine.com - VL Magazine | 101
ARTSPAN Artist Spotlight
Interview artspan Artist Benjamin Cheshire When did you realize you loved art and wanted to be an artist? I? I was very young and started drawing on walls, grocery bags and anything that would take a mark so long ago that I think there were only 49 States in the Union at that time. I believe I may be dating myself, but when I think back to a point in time that could answer the question I only remember enjoying drawing and painting things that were not there. Who has been your mentor, or greatest influence to date? I was mostly self taught. It was the comic book artists that first attracted my attention, I wanted to draw just like them. Then in High School I was introduced to the Classical, then the Gothic and Renaissance artists. But if I was to name an artist of influence, I would have to say Leonardo da Vinci. I know that he is not alive in the world, but his joy of understanding and creating art is very much alive in my studio. Who has been your mentor, or greatest influence to date? There are several living artists that I admire, some of them live nearby. But I would have to list Daniel E. Greene and his very talented wife, Wende Caporale as the persons that steered me to the art of pastels. The reason is easily seen in their works. Who is another living artist you admire and why? Lately I’ve followed the works of Tibor Nagy and David Shevlino. Their brushwork is amazing and they both have a spontaneity and looseness that speaks to me. I know that there is a certain amount of abstraction there that I would like to start incorporating into my own. What is your favorite surface to paint on? I love paper, all kinds of paper. I have boxes and shelves of paper. Graphite, pen, pastel and watercolor. I just love the feel of paper. What is your favorite materials to use? Graphite and pastels are my materials of choice. Although I am now learning oil and acrylic painting. Do you have a favorite color palette? I use so many pastels, that I do not really have a palette. With my incursions into oil painting I have been using Daniel Greene’s palette. I like his set up and mixing. How often do you work on your artwork? How many hours a week? Pastels and graphite fit into my busy life very well, I can stop at a moment’s notice and pick up again quickly. I try to work 4-6 hours every day. Even when I suffer “blank page” I will sit in my studio with a cup of coffee and look at books and magazines. I have a lot. What is the one thing you would like to be remembered for? Simply, for being a good person. 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? All of the above, I am never happy with any of my work. This sometimes gets in the way of creating new pieces. But, I get over it and paint. How do you overcome these obstacles? ? I close the door to my studio, and then everyone leaves me alone. There are no phones in my workplace.
http://www.bencheshireart.com/ 102 | VL Magazine - VisualLanguageMagazine.com
What are your inspirations for your work ? I find inspiration in everything around me, foxes running through the forest, early morning light through the trees. Just life in general. What is your favorite way to get creative juices flowing? It’s figuring out how to flush my brain of all the aforementioned distractions. Sometimes I will hop the Metro into D.C. and walk through the Art Museums. Which work of yours is your favorite? So far I like the pastel “Red Wolf ”. http://www.bencheshireart.com/
VisualLanguageMagazine.com - VL Magazine | 103
ARTSPAN Artist Spotlight
artspan Benjamin Cheshire
Wildlife Artist Benjamin Cheshire in studio.
http://www.bencheshireart.com/ 104 | VL Magazine - VisualLanguageMagazine.com
Up Close and Personal What is your favorite color in your closet? Greens, blues and the required artist black. What book are you reading this week? Dan Brown’s “Inferno” and “Operation Barbarossa” by David Glantz. Do you have a favorite televison show? I rarely watch any television. What is your favorite food? Just about anything Italian, I love the colors, smells and the appearance of those wonderful Italian dishes. What color sheets are on your bed right now? That is an interesting question, they are pale blue. What are you most proud of in your life? My three adult children. They are everything to me. Do you have a passion or hobby other than painting/sculpting? I love to work on and drive my 1971 Triumph. But I am very careful with my hands. If you were an animal what would you be and why? That is easy, a cat, they are totally cool. If you were stranded on a desert island and could only take three things, what would they be? ? My pencils, paper and of course my wine. If you could live anywhere in the world, where would you live? Bermuda, the reason being, just enough English, with a hint of American and beaches
http://www.bencheshireart.com/ VisualLanguageMagazine.com - VL Magazine | 105
ARTSPAN Artist Spotlight
artspan Benjamin Cheshire
http://www.bencheshireart.com/ 106 | VL Magazine - VisualLanguageMagazine.com
http://www.bencheshireart.com/ VisualLanguageMagazine.com - VL Magazine | 107
Pol Ledent – Belgium ledent-gallery.be
108 | VL Magazine - VisualLanguageMagazine.com
A Summer’s Welcome” 14” x 18
RAINBOWS 48”x36” Acrylic on Wood
Acrylic Narrative Paintings
VisualLanguageMagazine.com - VL Magazine | 109
Brian James Kluck
110 | VL Magazine - VisualLanguageMagazine.com
Abstract Collage Paintings
VisualLanguageMagazine.com - VL Magazine | 111
Sarah J Webber
â€œI paint animals with passion. Spontaneous, textured brushwork, rich color and a loving expression are the hallmarks of my work. I am inspired by artists of the past. I admire simple shapes and interesting design. I paint animals of all kinds, but especially farm animals as they speak of better times.â€?
sarahjwebber.com 112 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 113
dutchartgallery.net 114 | VL Magazine - VisualLanguageMagazine.com
dutchartgallery.net VisualLanguageMagazine.com - VL Magazine | 115
VLStudio Visit with Texas Artist Pamela Blaies Studio Visit Studio Visit Texas Artist David Forks Texas StillLife Artist Pamela Blaies
DavidForks.com 116 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 117
VL Studio Visit Pamela Blaies Discovering a Passion
Pamela Blaies discovered her passion for painting a little later in life. She was married with two toddlers and an infant and they had just moved into a new home. For her and her husband it was exciting. The new house was larger and they could see that with a little renovation here and there, it would become their dream home. However, her little ones did not feel the same. They were sad about leaving the familiar, cozy nest of the only home they’d ever known to stay in a strange new place. To lift their spirits Pamela began to create murals on their bedroom walls. She found herself anticipating each morning filled with painting. After covering the walls of three bedrooms, two bathrooms and a playroom with scenes from Winnie the Pooh, princesses with purple and pink hair, rainbows, clouds and bubbles…wall space ran out. Compelled to explore this newly discovered part of her, she decided to try painting on canvas. This has evolved into a lifelong commitment to the pursuit of painting. Pamela has had the opportunity to study with talented and accomplished artists and has also discovered that self-study and experimentation work well for her as she continuously strives to grow as an artist. “Because I started a little late, I sometimes think with regret of the additional years I could have been developing as an artist if I had found my passion earlier. However, each time a non-productive thought like that enters my mind I remind myself that I can only go forward and take each day at a time. All of my experiences have brought me to the unique place I find myself and I wouldn’t trade a thing. But, I guess I still sometimes put a little pressure on myself to play ‘catch up’ along my art journey. A single lifetime doesn’t seem to be enough to fit in all I would like to learn and all of the ideas I would like to explore. “
PamelaBlaies.com 118 | VL Magazine - VisualLanguageMagazine.com
Rose Garden Bounty
Between taking care of a busy family with teenagers and keeping up with a full time art career, she admits that keeping balance in her life is one of her biggest struggles. “For years I would paint in our sunroom, which has great north light windows and is located right in the heart of our home. I loved being accessible to my family when they needed me, but it often caused problems for my creative process and for our home life.” Finding studio space outside the home did not seem like the best solution, so she began designing and preparing construction for a new 400 sq. foot space to be a dedicated home studio. The project was finally completed last September. “I still get a rush of energy, excitement and inspiration each time I walk into my studio. It is a wonderful place to be and I feel so blessed to have it!” Now that she has a dedicated art space to enter at the beginning of each day and leave behind each evening, she finds she is able to more consistently carve out creative time. She recently completed a Petite Painting Project, where she created 100 paintings in 100 days. “I wanted to challenge myself. Kind of like a self-imposed ‘art boot camp.’ I just wanted to see where it took me. It was amazing! After painting every single day for several months, I learned some interesting things. Creativity breeds creativity – instead of running out of ideas for compositions, my inspirations seemed to increase. Setting a routine for creating made me feel less stressed about organizing my life in general. Also, by intensely exploring color, value, composition and technique on a day-to-day basis, I saw incredible growth toward where I want to be as an artist.” PamelaBlaies.com VisualLanguageMagazine.com - VL Magazine | 119
Studio Visit Pamela Blaies
Pamela enjoys exploring the new inspirations she finds each day. She prefers to paint from life, so she can see the full spectrum of color and values as she works to capture the light effect. She often uses Chiaroscuro to create dramatic light on her canvas. But black paint is not part of her palette. She uses color mixes and complements for shadows and lowering color intensity. Pamela paints Alla Prima style, finishing a painting in one sitting. The time limitation of this wet-on-wet technique motivates an energetic pace to her work and helps to keep her inspiration fresh.
Having Friends to Tea
PamelaBlaies.com 120 | VL Magazine - VisualLanguageMagazine.com
Pears on a Chair
“When I am asked what inspires me, I can’t say that it is a certain subject or theme. Inspiration is an abstract concept and is difficult to explain or describe, but I guess for me it could be simply stated as ‘light.’ I am captivated by the effects of light and shadow in the world around me.”
PamelaBlaies.com VisualLanguageMagazine.com - VL Magazine | 121
Studio Visit Pamela Blaies
Through dedication, study and hard work, Pamela pursues her art with enthusiasm. She is a member of Oil Painters of America, American Women Artists, Contemporary Fine Art International, Artists of Texas and Professional Artists in North Texas. You can see her work at the Dutch Art Gallery, in Dallas, Texas, Stinger Studio, in Georgetown, Texas, and at various solo and group exhibits throughout the year. Visit her website www.pamelablaies.com for a full listing of upcoming events and contact information.
PamelaBlaies.com 122 | VL Magazine - VisualLanguageMagazine.com
Oranges and Cobalt Glass
PamelaBlaies.com VisualLanguageMagazine.com - VL Magazine | 123
Studio Visit Pamela Blaies
PamelaBlaies.com 124 | VL Magazine - VisualLanguageMagazine.com
One Blue Bloom
Pamela is a native Texan. She was born in Irving, raised in the Houston area and attended high school in Georgetown. After graduating from Baylor University with a degree in Business Administration, she was ready to spread her wings and experience more. She skipped the graduation ceremony to catch the first flight to Europe to continue the fashion modeling career she enjoyed for over a decade. She is working toward becoming fluent in Spanish and loves to travel, but home is where her heart is - Texas. She now lives with her husband of 16 years and their 3 children in Colleyville, Texas, located in the Dallas/Ft. Worth area. PamelaBlaies.com VisualLanguageMagazine.com - VL Magazine | 125
The Spirit of the Wild
Mary Jo Zorad ZoradArt.com 126 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 127
VL Painting in the Wild Diane Whitehead
Life’s journey finds me surrounded by crystal clear sea foam green water, pthalo blue skies, crimson Indian paintbrush flowers, and still de grain brown tamarack. I live and work in the mountains in Montana high above the small town of Ovando. How did I get here? My story is blessed with twists and turns and as I believe in fate, this is exactly where I am supposed to be. Born second of eight children in Spokane Washington I was of the generation that when you finished breakfast in the morning, you left the house and were not expected back until dinner time. By foot or by bicycle no one worried about where you were or what you were doing. My brothers and I never left the house without our towels and our swimsuits, ready for the local public swimming pool to open, as this was where we spent most of our days in the summer time.Years later I learned that my husband to be happened to be at the same swimming pool most days as well. My teenage years surprised me with a desire to paint with oils. A relative happened to give me a set of oil paints and some Walter Foster “how to paint” books in grade school. Following the instructions I found that I became an individual in the process instead of just one of eight kids, fighting for their own identity. I continued to paint anything I could think of until I got married and had my daughter. Working in the pharmaceutical field and then in Real Estate, 26 years later I found myself no longer “found”. My individuality and my soul seemed to be scanning the horizon for something meaningful. Still raising four kids at the time, I bought some paint, 100 blank canvas and told myself that if #100 was not significantly better than #1 then I had to find something else to do besides paint. They all sold, and at the time eBay was the best online site to sell. While listing paintings on eBay, I could continue to paint and teach myself better skills. A workshop with Carolyn Anderson, Reid Galey and Jove Wang really opened my eyes to impressionistic style of painting and my work seemed to evolve with each painting.
130 | VL Magazine - VisualLanguageMagazine.com
DianeWhitehead.com VisualLanguageMagazine.com - VL Magazine | 131
VL Painting in the Wild with Diane Whitehead Moving from Spokane to Park City, Utah became the shift that changed the way my work became available to the public – From online sources to a Gallery presence. My dream had been to be juried into the Western Masters show in Great Falls, Montana and acceptance into prestigious juried shows throughout the United States. This has all come to fruition and I continue to dangle my own carrot in front of my nose and challenge myself daily. Today I am a full time resident of Montana, walking a short path to my studio on the water, and when I sit at my easel my heart bubbles up with joy and gratitude for I have been blessed with the ability to determine my every moment of my every day. I think I can contribute my determination and my drive and the fact that I realized early on in life that I was always at choice. I was not a victim and only I could be in charge of my daily life. I never could succumb to the tyranny of immediacy, having a boss who was himself having a bad day or hated his life, which did then affect mine when all was said and done. I have fought to find my own words in my images and my work. Painting is like your signature and your fingerprint. Others can try and copy, and believe me they do, but they cannot be the same being that you are when you paint. Your “stuff”, your “story”, your own personal history will come out. You can try to emulate another artist, but when you boil everything down to just you, the paint and a blank canvas, that’s when the truth comes out.
DianeWhitehead.com 132 | VL Magazine - VisualLanguageMagazine.com
My major in college was veterinary medicine and business, of which both were essential to my love of animals and the skill you need to run your own business as an artist. I love the eyes of the animals. I often encounter bear, coyote, wolf, fox and mountain lion in this area- I have a critter cam and my camera handy at all times. but most bears I have encountered are not aggressive or worrisome.
DianeWhitehead.com VisualLanguageMagazine.com - VL Magazine | 133
Painting in the Wild with Diane Whitehead
DianeWhitehead.com 134 | VL Magazine - VisualLanguageMagazine.com
DianeWhitehead.com VisualLanguageMagazine.com - VL Magazine | 135
Painting in the Wild with Diane Whitehead
DianeWhitehead.com 136 | VL Magazine - VisualLanguageMagazine.com
I am currently represented by galleries in Jackson Hole, Park City, St George, Sundance Resort, Dallas Texas, Crested Butte Colorado, Big Timber Montana and PawsUp! Resort in Montana- I often paint live for groups at PawsUps and Sundance Resort and am preparing for the Western Masters show in March. I have been selected for the 16th American Women Artists annual national juried competition for a November show, as well as the quick draw at the Fall Festival in Jackson Hole, Wyoming in September DianeWhitehead.com VisualLanguageMagazine.com - VL Magazine | 137
138 | VL Magazine - VisualLanguageMagazine.com
feliciamarshall.blogspot.com VisualLanguageMagazine.com - VL Magazine | 139
Summer Juried Show “Abstraction”
$500 in total cash prizes Open to 2D visual artists worldwide www.cfai.co/juried-shows
140 | VL Magazine - VisualLanguageMagazine.com
International Exhibits Montecarlo, Italy August 28 - September 9 2013 Rheinbach, Germany October 7-14, 2013
Michal Ashkenasi michalsart.com vinartmontecarlo.com
VisualLanguageMagazine.com - VL Magazine | 141
www.cfai.co/ladyl 142 | VL Magazine - VisualLanguageMagazine.com
www.cfai.co/ladyl VisualLanguageMagazine.com - VL Magazine | 143
Palette Knife Artists
144 | VL Magazine - VisualLanguageMagazine.com
Karen Tarlton VisualLanguageMagazine.com - VL Magazine | 145
Dara Oshin I begin my process by creating a rock sculpture working within the physical limitations of gravity while balancing the rocks visually and in space. The shapes and personalities of each stone begin to fill the air with soothing rhythm and comforting melody as I strive to capture the vibrations of the light and the subtle changes of colorful earthly hues. I work uniquely from life without the use of artificial lighting.
DaraOshin.com 146 | VL Magazine - VisualLanguageMagazine.com
DaraOshin.com VisualLanguageMagazine.com - VL Magazine | 147
DaraOshin.com The paintings shown here were created in a studio with either southern exposure or northern exposure. I find southern light to be warm and intoxicating, seductive yet elusive and fleeting. This intense light embodies two distinct and opposing worlds, one of light and another of darkness. Northern light on the other hand is diffused and reflective. It is gentle, calm, quiet and cool. Yet, at the same time, it is expansive and revealing. It is an intimate light that I can breathe deeply into my soul. I like to believe that collectors use my paintings as a starting point to ponder. Please visit daraoshin.com to find more rock paintings (and to ponder...).
148 | VL Magazine - VisualLanguageMagazine.com
DaraOshin.com VisualLanguageMagazine.com - VL Magazine | 149
Betty Russell Gates: Born on an oil lease in Oklahoma, in 1927. Her art career began with John Frank, Frankhoma Pottery in Sapulpa, Oklahoma. After a brief time at Arkansas A&M, Gates graduated from Art Instruction Inc. in commercial art. After ten years as a commercial artist, she went with her first gallery, Merrill’s Gallery in Taos in 59. Gates studied with Dutch Painter Dirk Van Driest, Paul Strisik, William Henry Earle, and Ray Froman. Sorolla, Sargent, & Fechin influenced her style. Gates has exhibited in places such as Canyon House Rotunda, House of Representatives in Washington, D.C., Broome St. Gallery, Cork Gallery, Lincoln Center, Jacob Javits Building, in New York, and Sen Yet Sen Museum in Taiwan. Her awards include: “A.A.P.L.”, Award , American Artist Professional League, Catherine Lorillard Wolf Art Club Award. “Still Life Award” , “Anna Hyatt Huntington Bronze Metal” , and “ Katherine T. Lovell Memorial Award” in Catherine Lorillard Wolfe Art Club exhibitions in N.Y. C., New York, and “Best of Show” and “ Special Award” in the National League of American Pen Women, Dallas, Texas. Gates has earned Signature Status in KA, OPA, AAWA, WAOW, CLWAC Signature 16, ACA, and APA. A US Coast Guard Artist since 1987 she has three paintings in their permanent collection. A reputable gallery artist since 1957. Dunn & Bradstreet rated.
http://www.b-r-gates-art.com/ 150 | VL Magazine - VisualLanguageMagazine.com
WAOW 2013 BEST OF SHOW – “Spring Water” – Betty Gates
VisualLanguageMagazine.com - VL Magazine | 151
“End of Day” Oil 24” x 30”
“General Store” Oil 5” x 7” 152 | VLhttp://www.b-r-gates-art.com/ Magazine - VisualLanguageMagazine.com
“Three Cousins” Oil 30” x 40”
“The Boss” Oil 24” x 30” http://www.b-r-gates-art.com/
VisualLanguageMagazine.com - VL Magazine | 153
Charles Spinetta Winery and Wildlife Art Gallery
154 | VL Magazine - VisualLanguageMagazine.com
Our family owned winery released its first three wines in 1984 and opened its tasting room in 1989. The tasting room includes one of Northern Cailfornia’s largest wildlife art galleries with original watercolors, sculpture, pottery, and hundreds of framed prints from dozens of artists. We are located forty five miles east of Sacramento near the town of Plymouth and dozens of boutique wineries. Gold rush era towns such as Volcano, Sutter Creek, Amador City, and Jackson are nearby. Shortly after releasing our first wines, we realized that we needed a unique label that would draw attention to our wines on crowded shelves. Charles Spinetta, the winery owner and founder, was introduced to renowned wildlife artist Joe Garcia by friends during a hunting trip, and the two men readily agreed to creating wine labels that featured watercolor paintings by Garcia. Garcia also suggested creating a series of limited edition prints to accompany each label art image, and the winery’s wildlife art gallery grew from offering prints of its own labels. Sherrie Russell Meline was commissioned to paint waterfowl for Spinetta’s wine labels just a few years later, and the two artists each created several labels for Spinetta in the years that followed. Tasting room visitors enjoy their wine while exploring over 3,000 square feet of wildlife art. Large bronze sculptures grace the tasting room bartop, and dozens of panels are covered with limited edition prints. An assortment of original watercolors graces the wall behind the tasting bar, and smaller items like raku pottery and woodcarvings peek out from nooks and display cases. The interior of the gallery is an improvisational work of Philip Giurlani, a contractor from Jackson, California, and Charles Spinetta. Spinetta procured a large truckload of redwood from his brother in law, and with Giurlani’s expert carpentry, a subtle, yet distinctive, background formed to showcase the gallery’s assortment of art. Large panels are suspended from the rafters for hanging art, and diagonal wood panels boldly disrupt the symmetry of the cement block building’s walls to present larger prints, watercolors, and oils. VisualLanguageMagazine.com - VL Magazine | 155
A selection of rare first edition prints by Carl Brenders and Charles Fracé currently occupies part of the gallery’s second floor. Spinetta recently purchased an assortment of unframed mint condition prints from a collector, and this special offering of bright, vivid 30-40 year old prints draws lots of attention from guests. An onsite frame shop fulfills the needs of the gallery, and we also take in custom work. All of our framing is conservation grade, and we frame family treasures everyday. Dorothy Tiquet has worked in our frame shop for over twenty years, and each piece demonstrates her personal flair as well as her delicate touch. The winery’s case production is limited, and our wines are only available in our tasting room. We ship direct to customers in forty three states, but tasting room visitors purchase nearly all of our wine while visiting in person. The tasting room and gallery are open five days a week (closed on Tuesday and Wednesday) with the exception of major holidays. Shaded picnic grounds are available, and the surrounding towns feature an assortment of inns, restaurants, and local attractions. Monday, Thursday, Friday: 8:00 a.m. to 4:00 p.m. Saturday and Sunday: 11:00 a.m. to 4:30 p.m. Closed Tuesday and Wednesday
156 | VL Magazine - VisualLanguageMagazine.com
Charles Spinetta Winery 12557 Steiner Road • P.O. Box 717 Plymouth, CA 95669
VisualLanguageMagazine.com - VL Magazine | 157
Daily Painters Abstract Gallery http://www.dailypaintersabstract.blogspot.com
Carol Nelson http://www.carolnelsonfineart.com
Nancy Eckels http://www.nancyeckels.com
Barbara Van Rooyan http://www.barbaravanrooyanabstractart.com
158 | VL Magazine - VisualLanguageMagazine.com
Daily Painters Abstract Gallery http://www.dailypaintersabstract.blogspot.com
Carol Engles http://www.carolengles.artspan.com
Theresa Paden http://www.theresapaden.com
Andrew Barlow http://www.andrewbarlow.net VisualLanguageMagazine.com - VL Magazine | 159
160 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 161
Kimberly Conrad Contemporary Abstract Artist “Pouring Color Into Your Life”
“Red Sky Warning” III 30x30x1.5 Acrylic on Canvas
http://www.KimberlyConradFineArt.com 162 | VL Magazine - VisualLanguageMagazine.com
“Change is Coming” 16x20x1.5 Acrylic on Canvas
“Rolling In” 12x16x1.5 Acrylic on Canvas
http://www.KimberlyConradDailyPaintings.blogspot.com VisualLanguageMagazine.com - VL Magazine | 163
Photographer Spotlight Pauline Fowler
The Past Born in Liverpool UK, I grew up in Africa reading The Jungle Book, Doctor Dolittle and EVERYTHING Gerald Durrell ever wrote encouraged by my wonderful father. When we got back to the UK again I think I wrote every week to London Zoo asking for a job, but at 11 years old I may have been a trifle optimistic! Life steered me in the direction of the Arts, and I first did a BA in Ceramics in Cardiff making fantasy porcelain creatures, and then my Masters Degree in the Royal College of Art; again based around animals, this time much more anthropomorphic(Johnny Morris was my idol - he who could make the animals talk). The next 28 years saw me as Co-Director of a company in the film business making (surprise, surprise!) animals for films. I became a sculptor in clay, mainly because I had no facility for drawing, however hard I tried. I do a lot more than that now but I am still mainly a 3D person. However, about 5 years ago I had a bit of a crisis with my work, someone suggested I get a camera, a proper one, (not just a point and shoot of the sort that I was used to for taking reference shots) to try and refresh and re-inspire me. The first picture I took was embarrassing, mainly because I had the lens cap on, actually in all honesty the first YEAR was embarrassing, mainly because I was still taking ‘reference’ shots but with a more complex camera - sadly the point and shoot shots were better! I genuinely don’t know when something clicked, but gradually I started to actually create with my images, and after I started teaching myself how to do textures and layers in Photoshop, well, everything simply changed! The Present - a reason and a purposeI am a self taught photographer and editor. What I bring to my animal photography is years of looking and studying form, character, and how the play of light affects atmosphere on shape and emotion. I have re-studied the Old Masters, and their use of natural light. I use multiple bursts with my camera to try and capture a glance, a fleeting reaction, a subtle nuance of body language that changes a simple shot into a story that tells a thousand words, enhanced with softly shaping hints of light and background. Textures must never detract from the main character, but should caress and highlight. Zoos are now Arks of huge import for the wildlife of this world. I have been to many now over the years, and when I photograph the animals within I try to create with the ensuing images a rapport with the viewer, something to make them really LOOK. I find that sometimes I get the strongest reaction when there appears to be a human emotion within the glance of the animal, and because of that I still find anthropomorphism a fascinating and powerful thing, and feel I have only scratched the surface of what I can investigate and create. It is not only the endangered exotics though - if it breathes I love it, and domestic animals are as wonderful and complex and characterful as any wild creature. The more I photograph and watch animals, the more I see play and humour and incredible family values within their groups that I want to capture. I see solitary beauty, I see unrestrained pleasure....and I am lost in the wonder of it. I hope you will be too. http://www.paulinefowlerphotography.com 164 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 165
Pauline Fowler http://www.paulinefowlerphotography.com
166 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 167
VL Pauline Fowler
168 | VL Magazine - VisualLanguageMagazine.com
VisualLanguageMagazine.com - VL Magazine | 169
THE COLORS OF TEXAS
artistsoftexas.org 170 | VL Magazine - VisualLanguageMagazine.com
THE ARTISTS OF TEXAS
artistsoftexas.blogspot.com dailypaintersoftexas.blogspot.com VisualLanguageMagazine.com - VL Magazine | 171
CFAI.co Art Challenge
CFAI.co Art Challenge July 2013 “Tropical Days” Best of Show - Judy Batterson http://www.cfai.co/art-challenge-july-2013-tropical-days
Best of Show Paradise Found Judy Batterson
172 | VL Magazine - VisualLanguageMagazine.com
First Place Shopping Mall in Paradise Carol Hein www.cfai.co/carolhein
http://www.cfai.co/art-challenge-july-2013-tropical-days VisualLanguageMagazine.com - VL Magazine | 173
CFAI.co Art Challenge
Second Place Emily Barbara Jones
CFAI.co August Art Challenge - â€œHot August Nightsâ€? - $100 Cash Prize! Open to all 2D visual artists! Enter now www.cfai.co/art-challenge Painting by Barbara Haviland 174 | VL Magazine - VisualLanguageMagazine.com
Third Place Harbour View Carmen Beecher
Submit your portfolio to join
Contemporary Fine Art International
VisualLanguageMagazine.com - VL Magazine | 175
VL OilPaintingDVD.com Step by Step Demonstrations
firstname.lastname@example.org 176 | VL Magazine - VisualLanguageMagazine.com
Hall Groat II
OilPaintingDVD.com VisualLanguageMagazine.com - VL Magazine | 177
The Five Graces Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zorad
Mary Jo Zorad
What makes The Five Graces special/unique? All members of The Five Graces create bold, vividly-colored artworks with an inspirational flair. Several of the group are excellent teachers and writers. They work energetically toward touring exhibitions that showcased their artworks - shows to the US and to Europe. All five artists are spread out over the US. 178 | VL Magazine - VisualLanguageMagazine.com
Who are The Five Graces?
Debbie Grayson Lincoln (the steady grace), Laurie Justus Pace (the heartbeat grace), Conni Tรถgel (the wired grace), Diane Baird Whitehead (the business-minded, directly spoken grace) and Mary Jo Zorad (the quietly inspired grace) have as many similarities as they do differences. Their artwork demonstrates a common commitment to a high standard of workmanship. To speak with any one of the five women reveals a commonality in what inspires them and how they choose to live their lives, with integrity and a commitment to doing their work for a higher cause. Each feels her creative inspiration as a passionate and natural calling.
thefivegraces.blogspot.com for daily updates
the5graces.com VisualLanguageMagazine.com - VL Magazine | 179
180 | VL Magazine - VisualLanguageMagazine.com