Visual Language Magazine Contemporary Fine Art Vol 3 No 12 December 2014


Vol 3 No 12 Visual Language Magazine Contemporary Fine Art featuring holiday art, toys, transportation and more. Cover Artist is Rainer Andreesen. Featured are the Artists of Texas in a Holiday Greeting, Visual Language studio visits with Rainer Andreesen, Angela Hardy, Richard Lewis, David Kalbach; and Vincent Wray, our Barry W. Scharf feature and more. Visual Language Magazine is published through Graphics One Design ©2014. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language Magazine crosses all boundaries. Visit our main website to see back issues or research past artist.




Visual Language contemporary fine art


December 2014 Volume 3 No. 12

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

Rainer Andreesen


visual language

contemporary fine art

Subscribe Free Today.

December 2014 Vol 3 No 12



Portrait Painting

Art was my salvation. I felt truly at home in my heart

while drawing or painting. I had no idea of where it

would lead me, yet somehow I knew that it was my

ticket to see the world beyond the small island on

which I grew up on.

VL Cover Artist - VL Magazine | 3


“Tin Snowman” 7 x 5” Oil

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

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

content VL

Cover Artist Rainer Andreesen 3

Art was my salvation. I felt truly at home in my heart while

drawing or painting. I had no idea of where it would lead me,

yet somehow I knew that it was my ticket to see the world

beyond the small island on which I grew up on.”

Painter’s Keys - Sara Genn 11

Any Colour You Like: Rainer Andreesen 34

“The Haunting, and the Happiness, of Rainer

Andreesen” - As Told to Dave Justus

Studio Visit with Angela Hardy 64

Artist, Painter, Storyteller”

“So the painting process is somewhat a story

process, a therapy process, a healing process

and in part an architect process for each person

involved, including myself.” - VL Magazine | 5


Artspan Studio Visit Richard Lewis 80

Now when I am driving I often find myself looking at reflections

in the cars around me. I find it interesting to watch the reflections

change as the cars go down the road. A partly cloudy day can make

almost any car look beautiful to me.”

“Holiday Greetings: From the Heart of Texas” 100

The Artists of Texas invite you to step into the warmth of

the holiday season by celebrating the joy and happiness

that this time of the year brings.

“The Artist and the Art of Spiritual Practice” 124

By: Barry W. Scharf

“I often paint with some abandonment of

intellect, detached and trusting to that greater

self that guides the brush.”

6 | VL Magazine -

content VL

Artist Interview with David Kalbach 130

When did you realize you loved art and

wanted to be an artist

When I was a child I loved to draw pictures of

airplanes, cars, boats and people. My father,

while not a practicing artist, was very proficient

with artistic skills as was my grandfather. They

set an example or had a skill level which I desired

to emulate.

Vincent J. Wray 156

By Angela Hardy

Getting verbally tactile with the Graphically-Organic

abstract work of Vincent J. Wray

Directory of Artists and Galleries 176

In alphabetical order you can easily find all featured artists

and advertising artists, along with featured galleries in our

index directory. - VL Magazine | 7

Richard Levine

Pastel Painter Landscape and Figurative

“The Coast at Port Clyde”


Davis & CO Fine Art

Contemporary Abstract Art

in Acrylics and Mixed Media

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

Jana Kappeler - VL Magazine | 9


visual language magazine

Contemporary Fine Art

Visual Language Magazine Staff


Editor -in-Chief Laurie Pace

Executive Editor Ashley Thompson

Contributing Editor Lisa Neison-Smith

Consulting Editor Nancy Medina

Feature Contributor Sara Genn Painter’s Keys

CFAI Contributor Kimberly Conrad

Feature Writer Dave Justus

Feature Editor Art Reviews Hall Groat II

Feature Contributer Barry Scharf

VL Sponsor ARTSPAN Eric Sparre



Marketing and Development

Executive Director Business/Management Stacey Hendren

All Artwork is Copyrighted by the Individual Artists.

Visual Language Vol 3 No 12

10 | VL Magazine -

The Painter’s Keys

Robert and Sara Genn

Design life

Winter 2014

Robert Genn’s

Studio Book

American sculptor Robin Antar says, “Life is an empty square unless one fills it up with matter.” Life is also just waiting

for our design. Last Saturday my family joined old and new friends, artists and collectors who had gathered to celebrate

a personal connection with Dad’s paintings. Wet eyes and tender smiles met in front of painterly mountain peaks rising

behind dove-grey clag, scumbled islets and weathered totems, their silvery cedar breathing from the canvas. I saw the

sparkling faces of the local art chapter -- torch carriers for the collective cause. Love was in the air -- love of art and the

art life -- shared by a collection of people witnessing the revelation of a life composed and executed from a thoughtful


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

Peters, a designer and conservationist, has been living, since 1982, in an ultra-low-energy, passive solar house of his

own construction. “I get just as excited about building a birdhouse as when providing strategic counsel to a client,” he

says. Design informs his every manoeuvre. And what about people “Design creates culture. Culture shapes values.

Values determine the future,” says Peters.

The Painter’s Keys - Sara Genn

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

Our lives are devoted to developing a craft, not to be victims of aesthetic, philosophical or functional accidents. “The

details are not the details. They make the design,” said Charles Eames. Agency is a powerhouse -- in the microcosm, it’s

on the picture plane. But the brave among us design inward and then outward to involve the workings that shape our

global landscape. “A man,” wrote 19th century author James Allen, “sooner or later discovers that he is the master-gardener

of his soul, the director of his life.”



PS: “Life is your art. An open, aware heart is your camera. A oneness with your world is your film. Your bright eyes,

your easy smile is your museum.” (Ansel Adams)

“I am not afraid of storms, for I am learning how to sail my ship.” (Louisa May Alcott)

Esoterica: Robert L. Peters was born the middle son of Mennonite missionaries in Steinbach, Manitoba in 1954. At the

age of 3 his family moved to Frankfurt. After studying art and religious studies in Switzerland and the U.K., Robert

volunteered with an African Relief mission before returning to Canada to begin life as an artist and illustrator. Winnipeg-based

Circle Design, under the direction of Robert L. Peters, has built brands, identities and communication globally

and has also designed many Canadian postage stamps, first day of issue covers and philatelic collectibles. Circle’s

work has been recognized and collected worldwide and has won over 60 awards for design excellence. At home in the

woods of Eastern Manitoba, Robert has no need for a powered furnace. He does, however, have a climbing wall. “Here

is a test to find whether your mission on earth is finished. If you’re alive, it isn’t.” (Richard Bach) - VL Magazine | 11

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Artwork (l to r): Laurie Justus Pace, ‘The Gathering One’- Original Oil on Canvas, 32” x 48”;

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Marion, ‘The Adventure Begins’- Original Acrylic on Canvas, 36” x 60”; Jill Shwaiko, ‘O



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Larisa Aukon, ‘Thousand and One Night,’ - Original Oil on Linen 30” x 48”;

pez Barbosa, “La Villita,’- Oil on Canvas, 46” x 44”;

n a Mission’ - Limited Edition Bronze Sculpture, 24” x 19” x 9”

Jonelle T. McCoy

Rhythm and Hooves Series “Encore”

Blending texture and color

for an equine portrait with depth and richness.

“Swamp Queen" Oil

7" x 14"

Michal Ashkenasi

Abstract Figurative and Minimalistic Paintings

“Abstract 1”

Michal Ashkenasi

“Abstract 2”


Logan Bauer

Logan Bauer spent much of his elementary and secondary school years overseas. He took his first

painting class in London, England at the age of 13 years old. Upon his return to Arizona, he continued

to take art classes at Phoenix College, and it was not until recently that painting stopped

being a part time endeavor or hobby, but it became a full time commitment.

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

Landscapes, Life Drawings, Still Life, Figurative Portraits


Logan Bauer

Landscapes, Life Drawings, Still Life, Figurative Portraits

John Whitton Bria

Heading Toward The Old Man Of Storr

Isle Of Skye, Scotland

Judy Wilder Dalton

Contemporary Fine Art

Finding Life in Art and Art in Life


Aspen S P A C E S

Moonlight Trance 48 x 36 Acrylic with mixed media

Lelija Roy

Isabelle Gautier

French Contemporary Flair

“Panther Creek” 36 x 48

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“Awakening” 16 x 16 Oil on Panel

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Aixa Oliveras

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

“Realist paintings that convey a haunting quality to everyday scenes,

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- Michaela Mende Janco, juror

Art of Women Exhibition -

Roseanne Snyder

“Saturday Night Live”

Vicki Rees

Valerie Travers

“Seaspray” Oil on canvas 30” x 20”

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

Valerie Travers

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

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


34 | VL Magazine -


Rainer Andreesen

In the Studio - Photo by John Balsom


Any Colour You Like

The Haunting, and the Happiness, of Rainer Andreesen

as told to Dave Justus

Prince Rupert is, quite literally, the end of the road

for a coastal island on the northwestern coast of

British Columbia, 500 miles north of Vancouver,

Canada. I was born there in 1963, and spent an

interesting childhood in this remote, unique, relatively

wealthy town. Prince Rupert was basically a

fishing village at a time where there was a great

deal of money to be had in that industry. I found

myself attending high school with friends that made

$250,000 in a summer fishing. Instinctively, though,

I knew at a young age that theirs was not the life I

wanted, and so I tried to find what interested me in

a path to my own happiness.

Art was my salvation. I felt truly at home in my heart

while drawing or painting. I had no idea of where it

would lead me, yet somehow I knew that it was my

ticket to see the world beyond the small island on

which I grew up on.

After graduating from high school in Prince Rupert,

I went to art school in Vancouver. I remember being

terrified at the challenge of not really knowing how

I was going to turn my love of art into a stable career.

I ended up taking a three-year intense graphic

design program at Capilano University in Vancouver,

which honed my skills in illustration and design

before directing me into a career in advertising. I

worked for an advertising agency for two years and

then moved to a design studio for two more, while

maintaining my own clients for corporate design

and illustration. Eventually, I ended up opening my

own design studio while spending what little free

time I had painting portraits on the side. I found myself

bogged down with the design work; although I

loved it, I also felt pressured by the changing, computer-driven

design world. When I’d graduated from

art school in 1986, computer design had not been

part of the curriculum. I have since incorporated

computers as a helpful tool for drafting compositions

before they reach the canvas, but back then,

they seemed more of an obstacle than a boon.

At that time, one of my clients was a fashion photographer

who asked me to model for a project she

was working on. The notion came out of left field; I

had never once considered modeling as a career.

That job led to a department store campaign that

featured me on billboards all over Vancouver. A

scout from Italy saw the billboards and asked me to

come to Milan with a modeling contract. I thought it

was the perfect opportunity to travel abroad and left

for Italy on what I thought would be a two-month adventure.

Two years later, I was a successful model

traveling the world and eventually found myself living

in New York. My time there—and all the travels

that had led to that point—had provided me with a

life far afield from where I’d started and full of inspiration

and adventure. My modeling career was going

very well; I was working for top designers such

as Armani, Valentino, Zegna, and Gucci. I ended

up with a contract for Saks Fifth Avenue in New

York while at the same time working for J.Crew,

L.L.Bean, and Eddie Bauer, among many other catalog

companies. Even today, I am as surprised at

my continued success in the field as I was at that

very first job offer.

36 | VL Magazine -

Right Page: La Gitana - VL Magazine | 37


Rainer Andreesen

38 | VL Magazine - - VL Magazine | 39


Any Colour You Like

Ken Olin 48 X 60 Oil on Canvas

40 | VL Magazine -

The Haunting, and the Happiness, of Rainer Andreesen

After a while, though, I found myself missing the actual

painting of portraits. I have been obsessed with

portraiture as far back as I can remember (which

may not be saying much, as my memory seems to

be fading fast), and although I kept a sketchbook

throughout my travels, nothing for me was as satisfying

as painting. After six years in New York, I took

a break from modeling and moved to Los Angeles

with my partner, actor Victor Garber, to concentrate

on my paintings of portraiture. With all my adventures

and inspiration from my travels, the brush became

my guide to paint what I had built up inside

me. I had started with watercolors, but made the

switch to oils and never looked back, feeling they

were the best medium to express what I needed

to get onto the canvas. I painted constantly for the

next eight years, doing commissions and working

on my first solo show.

During this time, I brought forth a series of paintings

that I felt had always been deep in my soul, of

portraits in black and white. This Gray Matter series

explored the humanity of a portrait and its perception

by the viewer. I listened to, and meditated

on, Pink Floyd’s The Dark Side of the Moon album

every morning and while I painted each portrait.

It was one of the best and deepest experiences I

have ever had while painting. The show was a success

beyond my wildest expectations. The turnout

of people—including Ben Affleck, Martin Short,

Steve Martin, Sean Hayes, Alec Baldwin, and Tom

Hanks—was amazing, and the show sold half of

its inventory in the first night. To say that I was

humbled is an understatement. I am not someone

who looks for acclaim in the art world; I don’t enter

portrait compositions or artist workshops to gain a

name or reputation. My goal is to paint what I see

in the world and how I see it according to my own

eyes, and hope that someone can respond to it.

The fact that so many did, and continue to, is enormously

gratifying to me as an artist.

I am still working on commissions from that show,

although I have moved back to New York. In 2009,

Victor and I bought a house in upstate New York

as a getaway from the city, and I converted the carriage

house into a studio. Half of my time is now

spent modeling again after my eight-year hiatus,

and the other half with painting in my upstate studio.

I find it to be a great balance to live in Manhattan,

with all its attendant energy, and to travel to

the unique locales where I model, allowing all of

those experiences to flow into my paintings.

Ken 48 X 60 Oil on Canvas - VL Magazine | 41


The Haunting, and the Happiness, of Rainer Andreesen

Victor Reading Oil on Canvas

Inspiration for my art comes from so many sources—from other artists, to musicians, to encounters I can

scarcely explain. By far, my most constant inspiration is famous portraitist John Singer Sargent, but I am also

sparked by his contemporaries George Bellows and Anders Zorn, as well as the recently departed Lucian


I often make a musical playlist for each particular painting I am working on. Depending on the moods and

themes I’m trying to achieve, the song selection can range from classical to singer-songwriter, from haunting

melodies to straight-up rock ’n’ roll, or may be centered around a single recording artist. For the Gray Matter

series, Pink Floyd was the perfect companion to the haunted mood I was striving to create with each portrait.

The album spoke to me, and complemented the underlying theme of the show, with its commentary on society

and how we see it. With the painting of my partner Victor, I listened to classical music from start to finish.

His portrait demanded long hours of concentration for me, reflected in lengthy symphonic movements… and

classical music also reflects his personality, as he listens to it constantly in his free time. I also threw in a few

of his own Broadway recordings from time to time, such as “Johanna” from Sweeney Todd and “The Ballad of

Booth” from Assassins. It helped me break up the process a bit and get inspired by the voice of the talented

man I was painting.

42 | VL Magazine -

Andrew 48 X 60 Oil on Canvas - VL Magazine | 43


Rainer Andreesen

Victor Reading Oil on Canvas


20 X 24 Oil on Canvas

44 | VL Magazine -

Clive Davis 18 X 24 Oil on Board

The painting of music producer Clive Davis was done while listening to the wide variety of artists whose

careers he is responsible for cultivating, such as Simon and Garfunkel, Santana, Janis Joplin, Aretha

Franklin, and Whitney Houston, to name but a few. Whoopi Goldberg was painted while I listened to the

soundtrack of The Color Purple. The photo I used for that piece had been taken at the time when she

had filmed the movie, and the music provided a great way to hold onto her spirit while painting it. Unless

a certain portrait requires a specific genre of music, I enjoy painting mostly to a haunting playlist of such

artists as Radiohead, Ray LaMontagne, James Vincent McMorrow, Gustavo Santaolalla, and of course

Pink Floyd. The landscape paintings and still lifes are usually started with classical music, but can slip into

singer-songwriters if the mood reflects it. - VL Magazine | 45


Any Colour You Like

Top Left: Robin Wright 20 x 24 Oil on Board

Top Right: John Glover Study

Bottom Left: JBH “The Waiting” 24 x 30 Oil on Linen

46 | VL Magazine -

The Haunting, and the Happiness, of Rainer Andreesen

Diana 24 x 30 Oil on Linen - VL Magazine | 47


Any Colour You Like

Perhaps there is a reason I keep returning to music

that gives me a haunted feeling. The upstate house

that Victor and I bought once belonged to legendary

burlesque entertainer Gypsy Rose Lee in the

late 1930s. In the first few months of our residency,

I painted the interior of the house, along with doing

a few other repairs that needed attention. During

this time, I felt that there was a nonthreatening

presence in the house, occupying the third floor.

I was uncomfortable with the thought, but I always

felt welcomed in the home by the presence. One

night, while in a restless sleep, I awoke to see a

ghostly, ashen figure floating at the foot of my bed.

I felt conflicting emotions of shock and comfort…

but at the same time, I did not like that the presence

had found its way to my bedroom, as I had locked

the door to the third floor every night. That image

was to haunt me for some time.

As an epilogue of sorts to this ghost story, a year

or so later I approached a girl at my New York gym,

something I never do, and asked if I could paint her.

She agreed, but after many attempts in my New

York City studio, I did not feel that I captured her. I

finally did a large painting in my studio upstate and

found that suddenly the portrait worked. I hung the

painting in my bedroom upstate, because the background

seemed to match the wall color there. One

night I awoke to see the same pale, ashen-dressed

figure I had glimpsed two years previously… but

this time, thankfully, it was only my painting.

Through a neighbor and our landscaper, I later

learned that the ghost was not on the third floor,

but in our bedroom on the second story. Intrigued

but hesitant, I began to investigate the ghost’s existence.

My neighbor told me of three deaths in the

house; the ghost was the first of these. Ginny Augustin—herself

an artist—had died there, though

reports vary as to whether it was by murder or suicide.

After three months of our fixing the property up and

almost finishing the interior painting, a fire struck

the house. Three quarters of the outside walls remained,

and the top floor was gone. Investigators

attributed it to old wiring, but I felt sure it was Ginny.

Though I hoped her ghost was gone after the fire, I

still felt a chill in my spine every time I approached

the property. I worked in the studio while the house

was being rebuilt, but continued to feel apprehensive

until the old plumbing and wiring were hauled

away. I remember that moment clearly: After a day

of painting, I headed to the house without a shiver

in my spine. I knew, at last, that Ginny was gone.

The Ghost Paintings Series 1

48 | VL Magazine -

The Haunting, and the Happiness, of Rainer Andreesen

The Ghost Paintings Series 2 - VL Magazine | 49

VL Rainer Andreesen

Brooks back stage 20 X 24 Oil on Board

Right: Giaunluca 24 X 30 Oil on Linen

50 | VL Magazine - - VL Magazine | 51


Any Colour You Like

Morning light 24 X 24 Oil on Canvas

52 | VL Magazine -

The Haunting, and the Happiness, of Rainer Andreesen

Nathan Lane 30 X 40 Oil on Linen - VL Magazine | 53

VL Rainer Andreesen

My partner of 15 years, Victor Garber, influences

much of my work. He is like a second pair of eyes to

me, often coming into the studio and commenting

on the paintings I am working on. His fresh eyes

are able to tell me what is wrong or right with each

painting in progress, and he is usually able to pinpoint

something that I can’t see after living with a

painting for a long period of time. I sometimes use

a mirror to reflect the image I’ve painted—a helpful

method of seeing a change I need to make if I

can’t figure it out otherwise—but Victor is the mirror

I trust the most. His influence also inspires me

in many different ways. His Broadway background

leads us to see many shows together, which give

me a rush of influence that seems to filter into my

paintings. Most recently, we saw Tom Stoppard’s

Indian Ink, a drama—featuring, incidentally, a portrait

painter—which dove into my soul, pushing

me to rush to my studio to paint more of what I

feel, rather than what I know. Victor and I also visit

museums, both in New York and on our travels,

with hours of discussion afterward. His views and

insightfulness always seem to come into my head

while I am painting. He helps me mentally when I

get overwhelmed with a painting or with our busy

schedules by calming me down and getting me to

look at what is most important at the time.

I am inspired by my blessed and wonderful life

in every moment that passes, and I use that as

a deep well from which to draw. I often find myself

looking at my everyday experiences through a

brush and a canvas, with the hope that this shows

in every painting I create. The experience and life

in a subject I paint has to come across in the final

piece. This is what I always strive to produce. To

not only capture the likeness of the person, but

to capture the soul and spirit, is the most fulfilling

feeling I could ever want and need when I paint a


Self Portrait 20 X 24 Oil on Canvas Board

Right: Victor 24 X 30 Oil on Canvas

54 | VL Magazine - - VL Magazine | 55

discover art . inspire collectors

engage discussion . celebrate life

DAVIS&CO f i n e a r t g a l l e r y

Home is where the art is.

Rainer Andreesen

Exclusively at Davis&Co

Bob Coonts


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

Carol Engles

California Abstract Artist

“Amaryliss 8 x 10”

Connie Dines

Artful Exposures

One Frame at a Time


Night Gathering 36 x 26 Oil on Canvas

Laurie Justus Pace

Shades Advancing 24 x 48 Oil on Canvas

The Spirit of the Paint

Constantly pushing the edge, Laurie presses in her work for discovery and celebration. Compositions

change with color and dimension setting the pace for a unique painting every time

with a new journey.

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

Her passionate works are alive with movement, boldly created with a wide brush and a palette

knife. She loves working with oils, dramatically carving out the paint and transferring her

energy to the canvas and ultimately on to the viewer.


64 | VL Magazine - - VL Magazine | 65

VL Studio Visit with Angela Hardy

Artist, Painter, Storyteller

When studying a person to prepare to paint

them, I need to honor them down to an emotional,

cellular, historical level. When I begin to

look and learn about the person I am about to

transform, each person begins to take on a luminosity

all their own. For every person I paint,

each curvature of their skin is supported by

structure that holds a historical story line. Within

this the strength of their bone and muscle,

which shows right to the surface in movements

in their skin, creases, dimples, wrinkles of all

ages. These are the stories of failures and triumphs,

pains and blessings, loss and gains of

love, loved ones, past, present and foreshadowing

of an untold future.

The colors, tones and vibrancy of what pulsating

skin shows me is unique. This I want to share

with you. To give those that see my work a taste

of their spectacular, soulful, cellar creativity that

each emits, of which most are unaware. I paint

to show that all on their own, they are growing

creations, masterpieces. That someone, such

as myself is so in awe of, I adore this and am

compelled to recreate in paint. All in hopes that

through my eyes and with my hand, people

get a second sight of their rareness. Leaving

a reminder on this earth and to the world, how

magnificent they are. That each person is a

rare beauty and a strength that is translated in

to paint is an honor.

So the painting process is somewhat a story

process, a therapy process, a healing process

and in part an architect process for each person

involved, including myself. Within this structure

is my mission to create, to paint the obvious,

however to dig in deep, to decode, dissect, unlock

the not obvious; the part of the soul and

being which the person feels that which they

often believe is not beautiful. Painting so that

they can see their true beauty and by doing

so, I have to do the same for myself with each

stroke of my brush.

Currently am I am working through 50 celebrity

icons, with which I will be partnering with world

renowned photographer and creative genius,

Dr. Andy Gotts MBE, to do a show in NYC.

Meeting Andy personally over 2 years ago, face

to face, changed my life. Meeting Andy, sitting

with him privately in London for several hours I

was entranced with his stories of life and how

his career began. He has such a humbling

presence, melded with magnificent passion for

his art and the people, the celebrities he captures,

it enamored me. His vision, drive and his

determination was something I could relate to,

understand and aspire to.

“I see my portraits of actors as a moment in

time. There is no retouching involved; if there’s

a hair out of place or a spot on their cheek, I’ll

leave it in. In years to come I’d like people to

look at my portraits and be able to see exactly

how an actor looked on that day.” ~ Andy Gotts

When asked to join him on this monumental collaborative

show, which will be in approximately

1 year in NYC. My vision of Andy’s images

in paint, shown side by side with his Photos. I

was speechless, floored, beyond grateful that I

would be given such a blessed opportunity to

join visions. How my eyes transcribe in paint,

with how Andy’s eyes captures with the lens in

such exquisite, timeless moments.

That dream of being able to make the invisible

now visible, show people their strengths,

stories and beauty on a massive level is happening.

With gracious thanks to those that I am

privilege to paint, people like you who support,

and to Andy and the ‘Andy Gotts’ of the world

who willing are invest in the dreams of the creatives.

Thank you.

Right: Lauren Bacall


Graphite sketch

66 | VL Magazine -

Lauren Bacall


Acrylic on Gallery Panel - VL Magazine | 67

VL Studio Visit with Angela Hardy

Clint Eastwood


Graphite sketch

68 | VL Magazine -

“Angela Hardy’s work is simply breathtaking. It oozes depth and feeling and gets under the skin of her

subjects. Each brush stroke adds another layer of passion and feeling from this amazing artist and I am

proud to have her work in my collection.” ~ Dr Andy Gotts

Clint Eastwood


Acrylic on Gallery Panel - VL Magazine | 69

VL Angela Hardy

Robert De Niro


Graphite sketch

Robert De Niro


Acrylic on Gallery Panel

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VL Angela Hardy

Sir Christopher Lee


Graphite sketch

Sir Christopher Lee


Acrylic on Gallery Panel


"Color is my day-long obsession, joy and torment."-Claude Monet

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Elaine Vileria


Sanda Manuila

“OutSide of TIme” Oil on Canvas



Poppy Engergy Field | Enamel on Canvas | 36” x 41” | 2013

Susan Ketcham


“Checking it Twice” Giclee

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



The best of WAOW wildlife art - online only at


Deborah LaFogg Docherty

“Wood Storks” pastel 20 x 24


Georgene McGonagle

“Forget-Me-Not” bronze 16” x 9” x 5.5”


Linda Eppinger Johnson

“Horned Toad Baby” watercolor 18 x 22


Artspan Studio Visit

Richard Lewis


Studio Visit Richard Lewis

Learning to See

I have always seen my journey of painting for the last

25 years as slowly learning to see.

After getting my degree in architecture at SCIArch I decided

that being able to do nice renderings for other

architects might be a good may to make money when

I have extra time. I chose watercolor because oils always

seemed too smelly. I always liked cars so I started

by painting a Ferrari and after a few hours it actually

looked like a car. I had only bought a half dozen colors

with about half being shades of red so my first series

was Italian cars. Each one was took longer and was

better than the last as I was more careful in getting details

correct. So, I bought more paints and got bigger


I do my paintings from a projected slide and at first I

kept seeing anything or anybody in the reflections as a

distraction to the car. Then I did “Duesy Chrome” and

kept in the car reflecting in it. I felt this added to the

painting. When I took my next photgraphs I tried to get

certain reflections as much for the interest as the challenge.

This lead to “XK120 on XK140”. Shortly after

that I had twin boys and couldn’t paint for a few years.

But, the concept of the “Fraternal Series” where one

car related to the other had to be reflected came to me.

This really narrowed down what I would take pictures

of. I thought no one would want a Mustang reflected on

a Rolls Royce.

Now my paintings have much less to do with the car

than the reflections in the car. I am always looking to

find interesting clouds, trees, other cars and people in

the reflections when I take my pictures. All these reflections

are what make the curves in the chrome and body

of the car show off really well. I also look for reflections

that go back and forth on each other. One of the challenges

I have is getting the reflection look like the car

with out getting too distorted. It is amazing how moving

one inch can totally change the whole picture. I usually

will shoot a dozen shots while just moving a tiny bit in

each direction. It isn’t until I view the pictures on the

computer that I really see some of the more interesting

reflections that I hadn’t planned on capturing.

Now when I am driving I often find myself looking at

reflections in the cars around me. I find it interesting to

watch the reflections change as the cars go down the

road. A partly cloudy day can make almost any car look

beautiful to me. I don’t remember noticing reflections

like this before I started painting. But now I feel like I

see them all the time and really do enjoy them.

Right: DEUSY Chrome

Left: DELAHAYE at the Eiffel Tower TOWER

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VL Studio Visit Richard Lewis

Above:E Squared

Right: Bugatti Grille

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VL Studio Visit Richard Lewis

BUICK Hubcap

Above:Wings on a ROADSTER

Right: Alfasccd

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VL Studio Visit Richard Lewis

88 | VL Magazine -

MERCEDES Grill - VL Magazine | 89

VL Studio Visit Richard Lewis

90 | VL Magazine -

My method of painting with watercolors is to layer the colors on. This meant

that each previous layer has to dry completely or the next wet layer would turn

the previous layer to mud. So, now I usually paint about 3-4 hours at a time

and wait a day or two before the next layer goes on. I have as many as forty

layers of colors to get to the blackest blacks. This gives large areas a much

more dynamic look than just one quick dark layer. This method gives cloud

reflections a great look in the reflections.

Before I took up painting I did some computer art. This was long before PCs or

color printers were around. The only output was with a eight pen plotter. The

only way to get multiple shades of a color was to tell the computer to draw multiple

time in the same area. The computer had a pen stylus that I would trace

over an area and tell it what color to fill in. When I started using watercolors I

just kept thinking the same way and would first lay down a color that is lighter

than weak tea and keep adding darker and darker shades where I wanted it.

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

I had fun with a recent painting and did a stop motion video of it. You can see it

at And yes, I really did paint

it in that order. It took 18 months altogether and is comprised of 800 pictures.

I hope you start seeing the way I see now. - VL Magazine | 91

“Celebrating the stories and legends of Texas and

the Great Southwest through original art, prints and books.”

601 E Hwy. 82 - Nocona, Texas 76255 . 940-825-7226 . Facebook: Texas Trails Art Gallery

Tuesday through Saturday 10 to 6 . Sunday 1 to 5 . Closed Mondays.

Judy Mackey

“Patience” Oil on Canvas

“Patience 2” Oil on Canvas

“Patience 3” Oil on Canvas

“Patience 5” Oil on Canvas

Judy Mackey

No Worries” Oil on Canvas

Roberta McGowen

Visual West Photography



Colors Make Me Happy

Daisy Pink 24 x 24 inches

Acrylic on Canvas

She began painting at age 2 on small pieces and by age 3 moved up to

full size canvas. Lady L is the granddaughter of Texas Artist Laurie Pace.

VL Holiday Greetings

From the

Artists of Texas

100 | VL Magazine -

Poinsettias in White by Nancy Medina

12X16 oil

Poinsettias in White was created to celebrate the beauty of

Christmas, white florals, pastries, twinkling lights, and all the

joys of the holiday season.

Nancy Medina

Flower Mound Art Studio

Flower Mound, Texas - VL Magazine | 101

VL Holiday Greetings

From the Artists of Texas

“Peppy Poinsettia and Pine Cone” Amy Hillenbrand


Sometimes the best Christmas presents of all come in the

very smallest of packages. This little wee painting represents

some of the small treasures of the season with red

poinsettias, nature’s pinecones and a simple package. No

bling, but a lot of spirit.

“Cold Snow” Barbara Haviland


I painted both of the snow scenes because I like the

snow and wish it would snow like this where I live.

Snow reminds me of the birth of baby JESUS.

102 | VL Magazine -

“Christmas Reds” Carolyn Hancock

Pastel 8 x 8

Christmas Reds provided a head start on building a subscriber base for my first ever newsletter in

January 2012. It was a “subscribe to my newsletter” giveaway that found its way to the home of a

wonderful friend. - VL Magazine | 103


Holiday Greetings

From the Artists of Texas

“Christmas Wish” Cheryl J. Smith

Oil on Canvas

This is a picture of my grandson; he was really trying to decide

what he wanted for Christmas. He was a little nervous, but

stayed there so he could tell Santa what he really wanted for


“Santa” Debra Latham

Santa is keeping an eye on the little ones because he’ll

be making his list pretty soon. Let’s hope your name is

not on the Naughty side.

“Cupid” Deran Wright


The model was my son at age 3. It fits in with my general

fascination with classic mythology. The arrow

point is wickedly sharp, because sometimes, unfortunately,

love hurts. It is 15” tall, and about 11” wide, on

a 6” granite base.

104 | VL Magazine - - VL Magazine | 105


Holiday Greetings

From the Artists of Texas

“In Emmy’s Room” Ed Crumley

“In Emmy’s Room” was a painting I

did for my granddaughter Emeline. I

pulled together some of her toys and

things around our house she liked to

play with, and in the center, placed

one of her baby photos. Some items

were old Christmas toys.

“Christmas Gift” James Loveless

16 x 20 Oil on Canvas

This painting is of my granddaughter. She was born

around Christmas and we call her our “Christmas Gift”.

106 | VL Magazine -

“Little Red Poinsettia” by Joan Eure

Picture it!! Holiday smells are in the

air, as we are running here and there.

It brings lots of memories of childhood

times. Grandma and Grandpa coming

in with gifts and Christmas chimes.

Now the last gift is wrapped in gold paper,

and is laid beside the burning tapers.

Grandma opens the small gold

package, with that beautiful red ribbon

that matches. As she sees the small

miniature painting, tears start to form

in her eyes. She looks at me and said,

this is the best surprise.

“You Said You Wanted a Car” Janet Broussard - VL Magazine | 107

VL Holiday Greetings

From the Artists of Texas

“Poinsettia” Judy Mackey

This painting of the poinsettia is rich

with deep colors and texture. I loved

painting this with thick layers of paint

and the palette knife to give life to this

Christmas flower.

“Christmas Ornaments” by Kristine Kainer

Oil 6 x 6 inches

The tree is finally decorated and a chill is in

the Texas air! These vintage ornaments originally

adorned my parents’ freshly cut Christmas

trees over the years. Many broke and are

memories in photo albums. A few survived,

though--including these silver and red balls.

They now have places of honor in my home

(and are carefully stored after the holiday season!).

108 | VL Magazine -

“Christmas Wreath” Judy Wilder Dalton

8 x 8 Oil on Panel

This Christmas wreath was painted by memory in a very abstract impressionist style. I enjoy pulling the

colors and shapes from memory to represent the emotions and feelings of the subject. - VL Magazine | 109


Holiday Greetings

From the Artists of Texas

“Christmas Mansion” Kyle Wood

5” x 7” ,Oil

“Christmas Mansion” is one of favorite Christmas

Scenes of all times. This is a local scene

from my hometown in Terrell, Texas. Every

Christmas for the past ten years or so, I have

driven by this beautiful white mansion, decorated

with Christmas Wreaths and Electric

Candlers in the windows. The decorations are

rather simple, but profound on this beautiful

classical style home. Of course, I had add the

snow to bring out the Christmas Spirit.

“Christmas Jewel” Kyle Wood (Right)

5” x 7” ,Oil

“Christmas Jewel” is a still-life painting of an

ornament from our Christmas Collection. I

loved how the glow of the Christmas Lights

and nearby lighting from a closet played on

this Jewel. Out of all the ornaments we have,

this is one of my favorites.

110 | VL Magazine - - VL Magazine | 111


Holiday Greetings

From the Artists of Texas

“A Bright Moment on a Dreary Winter Day”

Patsy Lindamood


Going through my painting images I came

across this tiny red cardinal. With his bright

red feathers, he stood out in the winter landscape

and definitely cheered the silence with

his presence.

Christmas Time, Melissa Torres

Acrylic 8 x 8

Poinsettias are one of my favorite things about


112 | VL Magazine -

“Texas our Texas” Laurie Pace


Most of my art is painting done with a knife and oil paint. As an artist I realized the importance

of my camera in capturing the things to paint in the studio. This picture captured the

beauty of a winter holiday in Texas. - VL Magazine | 113


Holiday Greetings

From the Artists of Texas

“Forrest Santa” Leada Wood


Forrest Santa was reproduced for my Christmas

cards one year. I saw a big banner in a

store and thought he was so cute and fun that

I wanted to paint him.

“Christmas Angel” Leada Wood (Right)


Christmas Angel was created for an exhibition

at the Heritage Museum, with an angel theme.

I used an old masters angel and put it in a different

setting. This painting is watercolor and

gold leaf.

114 | VL Magazine - - VL Magazine | 115


Holiday Greetings

From the Artists of Texas

“Aspen Snow” Roseanne Snyder

18 x 24 Oil on Canvas

The silence of snow falling in this Aspen forest

is the symbol of peace on earth.

“Special Delivery” Suzy Pal Powell


Each year I try to do a new snow person

Christmas card. I love bikes and I

though a snow kid delivery a special gift

would be a good idea.

116 | VL Magazine -

“Blue Dachshund Christmas” Vernita Bridges Hoyt.

Watercolor and Ink, 9x9 inches

I paint homeless dogs to help various rescue organizations. “Blue Dachshund Christmas” was

selected as the official Christmas card for Coast-to-Coast Dachshund Rescue (CCDR) in 2009.

This long-haired blue dachshund is celebrating a first Christmas with her new family. - VL Magazine | 117


Holiday Greetings

From the Artists of Texas

“Christmas Poinsettia” Barbara J Mason


In it’s center, beyond the Christmas Poinsettia’s extravagant leaves, you will see the hidden inner floral

beauty of this plant magnified.

118 | VL Magazine -

“Jack in January Snow” by Rebecca Zook

With the winter sun warming his fur, this jackrabbit bounds through a rare Texas snow on

a crisp January morning. - VL Magazine | 119


Holiday Greetings

From the Artists of Texas

“Tree Lot” by Kristine Byars

Oil 12 x 16 inches

I still get goosebumps when I pass a Christmas tree lot at night. Like magic, the day after Thanksgiving,

they pop up on some normally bare corner or parking lot, magically twinkling with loosely strung

lights. A favorite family excursion!

120 | VL Magazine -

“Poinsettia” Judy Wilder Dalton

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

This Poinsettia was painted by memory in a very abstract impressionist style. I enjoy pulling the colors

and shapes from memory to represent the emotions and feelings of the subject. - VL Magazine | 121

Mary Jo Zorad

contemporary fine art

“You Have the Power” 12 x 12 Acrylic


16 x 20 Acrylic


Barry Scharf

124 | VL Magazine -

The Artist and the Act

of Spiritual Practice. - VL Magazine | 125


Barry W. Scharf

The Artist and the Art of Spiritual Practice

By Barry W. Scharf

The devotion of the artist to his or her work has always

been a topic worth pondering on a deeper level.

We all have heard of the suffering artist and the

commitment they make to become serious artists.

Many painters say that painting is a religious experience,

that they compare the process of applying

paint to a meditation.

Today it seems that much is done in the name of

religion, some good and some bad, all to often the

result seems to polarize humanity rather then join us

together. I believe that what most of society longs

for is a need to join together and it is often sought

through religion and prayer.

For the purpose of this writing the concept of prayer

is defined, as saying words of praise, request, and

gratitude to whomever you believe is a higher power

be it external or internal.

As an artist I find that the act of praying in many ways

to be similar to that of painting with painting being the

more productive, at least for me. The artist enters a

meditative state in the act of painting and is often

transported beyond what is being physically and intellectually

expressed to an altered consciousness of

being one with the work.

Parallels to the ritual of praying apply in the form of

the aforementioned above. Praising to acknowledge

the presence of “Oneness” beyond limitations of our

physical flesh, to a deeper soul-self that is part of

every living thing. Requesting or asking for something

we need or desire; and showing gratitude for

the things we now have and how they give us our

health, wellbeing and livelihood.

In as much as I am speaking from personal experience,

I can only assume that this may not be true for

all artists as this topic relies on some form of belief

beyond fact. If you can find some connection to what

I am discussing and base it within your own belief

system it may well be a universal experience regardless

of religious dogma. To the artist that holds no

belief system a concept of spirituality can still apply.

For me this concept begins with praise while stretching

and priming my own canvas, honoring an old

ritual in the creative process and making possible

a place for an unfolding of consciousness to be expressed

and evolve through paint. Choosing the color

palette that will soon set the mood of expression

and prepping the surface of the canvas to the correct

textural bite upon which the brush strokes will fall.

At this point I am holding an intention of gratitude

for my abilities, knowledge and confidence to execute

the task of composition, content, color balance

and emotional expression. Within each stroke of the

brush I express gratitude and in so doing open my

heart to the greater self beyond ego, to be able to

focus on a complexity of what is often of symphonic

proportions while allowing an uninhibited flow of the

creative process to unfold through my painting.

I often paint with some abandonment of intellect, detached

and trusting to that greater self that guides

the brush. It is a process founded in years of study,

ritual practice and training that allows for intuition to

guide what would otherwise be limited by thought

and intellect.

When starting a painting an intention to be available

to a unique consciousness, to a process of watching

as the painting comes together is possible. This sate

of mind is like the ritual prayer found in most every

religion. It is to suspend what is known to what is not

yet known.

126 | VL Magazine -

Heart with Taco by Barry W Scharf

Abstract 24 by Barry W Scharf


Barry W. Scharf

City Interiors by Barry W Scharf

128 | VL Magazine -

With each new painting there is an excitement and apprehension. Will I be able

to get to that special creative place again Can I let go of self-doubt, fear and

distraction that seem to fill my thoughts My mind races with all the variables

that can come into play; what is important and what is unnecessary

With each new blank canvas I reset the inner mechanism and request the clarity

of purpose, breathe slow and deep for several minutes allowing the mind

to quiet. Stepping back or sitting in a chair looking at the large white surface I

consider the new painting that will soon emerge. All that is needed is the right

frame of mind to begin.

It is at this point that I under-paint words of praise, request, gratitude, peace

and love to set an intention for this painting to give off energies of healing and

wellbeing regardless of the subject matter that is painted over the words. It is my

belief that in this way I send a silent prayer to all who view the artwork.

For me painting is prayer in action and the creation of positive energies unique

to this artist.

Girl at an Exhibition by Barry W Scharf

by Barry W Scharf



Artist Interview

with David Kalbach

130 | VL Magazine - - VL Magazine | 131


Artist Interview with David Kalbach

When did you realize you loved art and wanted to be an artist When I was a child

I loved to draw pictures of airplanes, cars, boats and people. My father, while not a

practicing artist, was very proficient with artistic skills as was my grandfather. They set

an example or had a skill level which I desired to emulate.

Who has been your mentor, or greatest influence to date The most influential mentors

have passed away. Louise Selin in high school (basic design), Bill Bacus (graphite

and design) in Community College and Howard Warshaw (acrylics) at the University of

California, Santa Barbara. Later in life, Margot Schulzke (pastel) and Nita Engle (watercolor).

Who is another living artist you admire and why While I am not a “wild life artist”

Robert Bateman is inspirational in his use of acrylic and his devotion to wildlife and conservation.

He has a “life” ethic which sets a great example for others to follow. I also

enjoy the works of Larry Rivers (who passed away in 2002).

What is your favorite surface to create work on or to work with Describe it if you

make it yourself. Arches 140# Cold Press and Hot Press paper and board for water media,

Rieves, & PastelMat for pastel and Hardboard or Linen Canvas for oil and acrylics


What are your favorite materials to use No favorites.

Do you have a favorite color palette My base color upon which I depend is PAYNES

GREY. The balance of my basic pallet consists of French Ultramarine Blue, Brown Madder,

Antwerp Blue, Cerulean Blue, Cobalt Blue, Bismuth Yellow, Aureolin Yellow, Cadmium

Blue, Burnt Sienna and Cadmium Red Medium. Other hues are used as needed for

a particular project.

In pastels, I prefer hard pastels for initial work and finish off with Great American, Terry

Ludwig, or Schmincke soft pastels.

How often do you work on your artwork How many hours a week This would be

difficult to calculate. Working is a matter of focus. When you’re on it can go on over 8

hours a day until you finish….but then concerns about client expectations can become

more than a bump in the road as you try to deal with a solution and “artist block” and

refrain from starting a new project.

What is the one thing you would like to be remembered for Not art. I want to be

remembered for the successes of my children.

132 | VL Magazine -

Hornet Sunset

Gasing Up - VL Magazine | 133

VL Artist Interview with David Kalbach

U2 Gittens

134 | VL Magazine -

There are many culprits that can crush creativity, such as distractions, self-doubt and fear

of failure. What tends to stand in the way of your creativity The mystery and concerns about

meeting the expectations of others .

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

these obstacles.

What are your inspirations for your work The passions relating to the activities of those in

the famiy, their children and friends. There is a special interest in the activities of those who have

dedicated their lives to others. That is probably one of the main reasons I have taken up the task

of painting friends of my son who are active in the military.

What is your favorite way to get your creative juices flowing I have two ways I address

creativity. The first is through association with other working artists where you can spend quality

time reviewing ideas and philosophies associated with esthetics and addressing problems which I

want to address or explore – whether design issues or other messages one would wish to address

through their art.

The second method involves reviewing works of authors addressing issues, photographs which I

have taken and added to my file of “scrap” and working on thumbnails set to music.

Which work of yours is your favorite This is difficult.

Right now my favorites would be:

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

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

3. Contemplation (oil, two life figures) see web site, Figures section. - VL Magazine | 135


Artist Interview with David Kalbach

In the Pattern

136 | VL Magazine -

05 Filler UP

Sea Stallion Refueling - VL Magazine | 137

VL Artist Interview with David Kalbach

Go Shawk

138 | VL Magazine -

Getting to know you Q&A

What is your favorite color in your closet Blues

What book are you reading this week Ben Carson. M.D. author. His book ONE NATION

Do you have a favorite television show BLUE BLOODS or sports – Premier Soccer

What is your favorite food This is difficult to answer as my favorite tends to change depending

on the available menu. My favorite meal can be found in causine of Central Mexico, Northern Italy

and Thailand. When I cook, my favorite fare would be a seafood pasta. Shrimp, mussels, calamari,

and scallops sauted in a white wine bisque along with garlic, green onions, red and yellow

peppers, some jalapeno and habanaro, sun dried tomatoes and broccoli.

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


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

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

George Bush.

Do you have a passion or hobby other than painting Yes. What is it Soccer. I coached soccer

while my children were growing. We were pretty successful so I continue to enjoy professional


I am also the Treasurer of the Pastel Society of the West Coast. I enjoy working with other artists

in pushing programs to promote the exucation of future artists.

Who would you love to paint Just about anyone with real character. How about Obama Perhaps

Ben Carson or Dennis Prager. Just about any person except children. (I love kids – it’s just

to difficult to get them to sit still.

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

with a dog lover.

If you were stranded on a desert island and could only take three things, what would they

be My spouse, My art materials, and some clothes.

If you could live anywhere in the world, where would you live Most any where. Love Germany,

Northern Italy, England, Northern California, New Mexico, San Diego, Life is wonderful - VL Magazine | 139


Lisa McKinney

140 | VL Magazine - - VL Magazine | 141


“Can’t See the River for the Trees”

24” x 18”

“Spring Thaw”


“Jack in January Snow”

11” x 16.5”




Kimberly Conrad

“Pouring Color Into Your Life”

“Blazing Sky Reflected III” 28”x45”x1.5”

Poured Acrylic on Canvas


Carol A. McIntyre

“Floating Winds, “ 28x21, Oil on Canvas




“Animals are my muse. The scratch

of the paw, pounce of a hoof, gesture

of the head, alert ear, quiet stride,

powerful shape, ancient wisdom.

All come to play with the shapes I see

as I paint.”

Barbara Haviland

Barb’s Garden Art December Artist Showdown

Denise Bossarte


Winter 2014 Juried Competition

still life

Carol Smith Myer

-$500 in total cash prizes

-Inclusion in the end of show video

-Featured in the 2015 Collector’s Book

+ MUCH MORE!!juried-shows/c19ne



VL Vincent Wray



156 | VL Magazine -

HAVE A FEA- - VL Magazine | 157


Vincent Wray

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

By Angela Hardy

I want to introduce you and give you the opportunity

to meet artist Vincent J. Wray and

see his work. A melding of styles that gives a

graphically-organic visual and tactile feel to his

sensational abstract works.

He is an amazingly brilliant designer, marketing

expert by trade,, but

his hands-on passion lays within his brilliant

multi-techinique, mix-media abstract creations.

Upon large gallery thick wood panels, Vincent

meticulously builds layers of paint, varnish,

mix-media materials, sands, grinds, cuts into,

blow torches, and will even pour gasoline over

or pile other materials such as dried leaves,

papers, other materials over top proceeding to

light them on fire, dousing them, allowing their

underlying process to manifest in an almost

sacrificial process. Unveiling themselves to becoming

fate driven masterpieces.

I am entranced, gripped, with a wanton desire

to explore up close the depths of intrigue held

in Vincents work, and hope you will be to.

Vincent, after years of cultivating this amazing

technique and skill, has began to show his

work to the public for public purchase and collection.

I can say with hand to heart and creative

soul that Vincent is going to become a

very well known name in the art world.

Road map 24x48”

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

158 | VL Magazine - - VL Magazine | 159


Vincent Wray

Burn Squared Series - Honey Rush 24x48”

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

160 | VL Magazine - - VL Magazine | 161


Vincent Wray

Burn Squared Series - Red Push 24x48”

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

162 | VL Magazine - - VL Magazine | 163


Vincent Wray

Fly Little Piggy 24x48”

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

164 | VL Magazine -

Kill the Bunny 24x48”

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

Twelve Streams 24x48”

Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match - VL Magazine | 165

Alejandro Castanon

Vino Dipinte Art Gallery

602 Orient St San Angelo, TX 76903


Texas Art

Artists of Texas


Felicia Marshall

“Dressed Up”


Left page: “Sunshine on Hope”




Oliveras 29

Alejandro Castanon 166-167

Amy Hillenbrand 102

Angela Hardy 64-73

Artists of Texas 100-121, 170-171

Barbara Haviland 102, 152-153

Barbara J. Mason 118

Barry Scharf 124-129

Bob Coonts 58

Burneta Venosdel 79

Carol Engles 59

Carol Jo Smidt 15

Carol Smith Myer 155

Carolee Clark 174

Carolyn Hancock 103


Cheryl J. Smith 104

Connie Dines 60-61

Daily Painters 174-175

Daily Painters Abstract Gallery 148-149

David Kalbach 130-139

Davis & Co Art Gallery 56-57

Dawn Reinfield 148-149

Debora Latham 104

Deborah LaFogg Docherty 78

Denise Bossarte 154

Deran Wright 104-105

Diane Whitehead 150-151

Ed Crumley 106

Elaine Vileria 74

Felicia Marshall 172-173, 174

Georgene McGonagle 78

Isabelle Gautier 26

James Loveless 106

Jana Kappeler 9

Janet Broussard 4, 107

Joan Eure 107

John Whitton Bria 22-23

Jonelle T. McCoy 14

Judy Mackey 94-95, 108

Judy Wilder Dalton 24, 109, 121

Kathleen Kirch 79

Kay Wyne 174

Kelley MacDonald 175

Kim Roberti 175

Kimberly Conrad 146-147

Kristine Byars 120

Kristine Kainer 108, 168-169

Kyle Wood 110-111

Lady L 98-99

Laurie Justus Pace 62-63, 113

Leada Wood 114-115

Lelija Roy 25

Leslie Sealey 27

Linda Eppinger Johnson 78

Lisa McKinney 140-141

Logan Bauer 18-21

Mark Schwartz 174

Mary Jo Zorad 122-123

Mary Lou Pape 79

Melissa Torres 112

Michal Ashkenasi 16-17

Mirada Art Gallery 12-13

Nancy Medina 101

Nathalie Kelley 177

Palette Knife Painters 144-145

Patsy Lindamood 112

Pokey Park 79

Rainer Andreesen 3, 34-55, 57

Rebecca Zook 119, 142-143

Reenie Kennedy 79

Ria Hills 175

Richard Levine 8,

Richard Lewis 80-91

Roberta McGowan 10, 96-97

Roseanne Snyder 30, 116

Sanda Manuila 75

Sara Genn 11

Scott McIntire 76

Susan Ketcham 77

Suzy Pal Powell 116

Texas Trails Art Gallery 92-93

Theresa Paden 175

Valerie Travers 32-33

Vernita Bridges Hoyt 117

Vicki Rees 31

Vincent Wray 156-165

Vino Dipinte Art Gallery 166-167

WAOW 78-79

Nathalie Kelley

“Christmas Candy” 8 x 10

“Blowing Off Steam”


178 | VL Magazine -

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