Visual Language Magazine Contemporary Fine Art Vol 2 No 1 January 2013


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.


contemporary fine art


January 2013

Volume 2 No. 1

Cover Artist Kimberly Conrad

How many Blogs do you post on every day

Save your hours for the studio and need

The Fairy Blogmother


Contemporary Fine Art

January 2013 Vol 2 No 1


Kimberly Conrad

Though her style remains quite diverse, Kimberly believes

she has the heart of an Abstract Expressionist, or even

more accurately, an Action Expressionist, as she is most

definitely an “action painter”. Her preferred application,

used in her non representational abstract paintings, as

wells her landscapes, seascapes and aspens is to “pour”

her paint, manipulating the flow with water and body

movement. She use no sketches or brushes, allowing the

paint to move freely and tell it’s own story.

“Each painting is a journey , dictated by primarily by my

current thoughts and emotions, be they happy, sad, peaceful

or frenzied.It is a mysterious relationship, and is thrilling

when the painting finally reveals itself, and our private

journey becomes a story to share.” Kimberly Conrad

Conrad has enjoyed gallery representation throughout the

state of Colorado; her work can also be found in private

and corporate collections worldwide, including Corporate

Offices, Hotel and Restaurant. Cover Artist

Features this month

New Artists Pages 5-6

Painter’s Keys - Robert Genn

Page 8

Art Challenge Pages 15-20

Juried Show Pages 27-30

Best of Show Art Challenge: Ann Rogers

Best of Show Juried Show: Judy Crowe

Colors on My Palette Pages 23-26

Featuring John Harrell and Linda McCoy

in Visual Language

Hall Groat II Art Review

Pages 39-40

Featuring Texas Artist Laurie Pace

Blog Review Abstract Artists

Pages 43-50

Features include Kimberly Conrad, Elizabeth Chapman,

Nancy Eckels, Kim McAnnich, Rick Heck and Mary Jo Zorad

Daily Painters Pages 65-66

Collection Starters under $200

Pages 67-74

Featuring Sunny Williams, Carol Schiff, Maryann Lucas,

Linda Rupard, Patty Ann Skyes, and MaryAnn Brooks


Nicholas Elliot

Professional Member


Alejandro Castañón

Professional Member

United States, Texas

Esther Miller

Associate Emerging Member

United States, Texas

Velia Lala

Associate Emerging Member

United States, Louisianna



Manuela Valenti

Signature Member

United States and Italy

Lynne Cunningham

Professional Member

United States, California

Karen A. Taddeo

Associate Member

United States, Florida


Visual Language Masthead


Contemporary Fine Art

Visual Language Magazine Staff


Editor -in-Chief Laurie Pace

Executive Editor Diane Whitehead

Managing Editor Nancy Medina

Deputy Editor Debbie Lincoln

Feature Editor Art Reviews Hall Groat II

Feature Contributor Robert Genn

CFAI Blog Editor Kimberly Conrad

Associate Editor Lisa Kreymborg

Feature Contributor - Robert Genn Painter’s




Marketing and Development

Director Laurie Pace

Senior Director Diane Whitehead

Junior Director Lisa Kreymborg

Nancy Eckels (USA)

Nicholas Elliott (France)


All Artwork is Copyrighted by the Individual Artists.

Visual Language Vol 2 No 1

Painter’s Keys

with Robert Genn

November 27, 2012

Dear Artists,

Robert Genn’s

Studio Book

One foggy morning, I was painting on the edge of the Seine within a few miles of Monet’s home in Giverny. In the

distance and coming upstream toward me was what looked like an American birch-bark canoe. Barely able to

make out the unlikely apparition in the mist, I figured the canoe to be haphazardly made, and its occupants to be

two teenage boys. Sure enough, as the canoe came alongside, it was a patched-up mishmash paddled by a couple

of kids who had probably overindulged on The Last of the Mohicans.

It didn’t hurt that I knew a wonderful story about Jean-Marie Toulgouat. Born in Giverny in 1927, the year after

Claude Monet died, Toulgouat, as a boy, had taken painting lessons from Blanche Hoschede Monet, one of Claude

Monet’s adopted daughters. Sometime near the beginning of the Second World War, Jean-Marie and a schoolfriend

built an American Indian-style canoe. The story goes that they soon ran out of proper boat-building materials.

“Blanche provided the answer to the boys’ problem,” reported the London Daily Telegraph on the occasion of

Jean-Marie’s death in 2006. “In old age, Claude Monet had been in the habit of having his gardener burn those of

his pictures which he had come to consider not good enough. Blanche had tried to impede this by instructing the

gardener covertly to store the condemned paintings in the garage. She now told Jean-Marie that he could finish off

the bow and stern of the canoe with pieces of these canvases. Thus Jean-Marie and his friend paddled the Seine in

a boat partly constructed from the works of Claude Monet.”

Toulgouat grew up to become a popular painter. But his greatest legacy was his restoration of Monet’s home and 5

garden in Giverny. The property, which was almost derelict by 1970, is now a National Historic Site. More than

a million visitors pass through the studio, home and garden every year. On Mondays you can paint on the premises.

FYI, we’ve put up some of Toulgouat’s and Monet’s paintings at the top of the current clickback. If you get a

chance, please drop me a note. I’m curious if others have experienced a deja vu while painting.

Just in case you’re wondering, Toulgouat’s canoe was later reported to have been burned.

Best regards,



Painter’s Keys - Robert Genn

PS: “Lots of people will protest that it’s quite unreal and that I’m out of my mind, but that’s just too bad.”

(Claude Monet)


Sign up to receive our magazine release monthly at


Anne Hines

Submit your portfolio to join

Contemporary Fine Art International.



Artists Retreat at

Art Workshop Sc

Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marbl

Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottl

for over eight generations and is today an active cattle ranch.


Oils/Studio February 9-10



Oils/Studio Working from photos or

mannequins February 19-21



Acrylic/ mixed medium/ S

abstract February 25-28



Drawing and painting the

figure in mixed media

May 9-11



Watercolor/ Studio

May 20-23



Oils, Pastels/ Plein Air

October 25-27



the Bunkhouse

hedule for 2013

e Falls. Our aim is to make you happy and see to it that you have your best learning experience ever.

e of wine. Life is truly good at Wenmoh Ranch. The Texas Ranch has been in the Wenmoh family



Oils/ Studio/ Plein air 2 days of each

March 4-7



Oils/ Plein air

March 20-22



Acrylic, Studio/ abstract

April 1-5


Also soon to schedule will be the great teaching team of KAREN


For those of you looking for a great holiday gift idea--other than

a class at the WENMOHS RANCH, En Plein air Pro is offering a

15% off until the end of 2012 on all of their artist easel packages.

See you at the Bunkhouse!


Oils/ Studio/ Plein air 2 days of each

November 4-7


Dena Wenmoh


Layering experiences with color,

paper and texture into life.



14 Art Challenge “G

Best of Show



atitude” November 2012

Ann Rogers

Left: Winning Painting



by Ann Rogers


First Place


Nathalie Kelley



Second Place


Tempy Berg-Gilbert

Librarians Tea Time

Third Place

Melissa Doron

Lady Liberty



Honorable Mention

Linda Bell

Lisa McKinney


Abigail Gutting

Marie Williams


I O T T France Fine Artist

When Nicholas Elliott joined it was evident he was a serious

painter that connected with his heart and soul into his work. VL

caught this posting on his blog and we believe it tells Nicholas Elliott’s


During the course of this months daily paintings I am working

on ‘freeing up’ my work.

In the Still Life Painting Archive on my website (

you will note that my work is very detailed.

Those paintings take 5 to 7 days to complete and involve several

techniques to arrive at the finished article.

In the daily paintings I hope to capture the “itness” of whatever

it is that I am painting in a single sitting if possible . . .

but certainly within the day. Hopefully over the course of the

month, by limiting the amount of time I spend on these small

paintings and using mostly large brushes, I will achieve more

immediacy in and expression in my work.

During this project posting my results from the previous days

work is rather like running down a busy high street naked

though! Even more reason to work even harder.

John Harrell


When did you realize you loved art and wanted to be ‘an artist’ I first started painting at the age

of five. My grandmother who was an oil and pastel painter gave me a set of oil paints for Christmas.

My first painting was a still life of fruit.

Who has been the greatest influence from your past to mentor you to this career My Grandmother.

Despite her battle with polio she continued painting her whole life

.Who is your mentor today, or another artist you admire and why I think my partners Kit Heveron

Mahoney, Anita Mosher and Kelly Berger at Brushstrokes Studio Gallery. They all continue to

inspire me artistically to push myself in my work everyday. They all have made great strides in their

own careers which proves to me everyday being an artist is the best career in the world.

What is your favorite surface to paint on Describe it if you make it yourself. I enjoy the sturdiness

of primed cotton canvas mounted on hard board.

What brand of paints do you use Golden Thick Bodied Acrylics

Do you have a favorite color palette I have standard Colors that I use most days but truly let the

painting I’m working on dictate the color palette I use.

What is your favorite color in your closet Baby Blue

What subject appears the most in your paintings and why Figures in the urban setting. I think

they tell the story of an urban composition and bring life to their surroundings.

How often do you paint How many hours a week I paint five to six days a week with as many

hours a day.

How would you like to be remembered That life inspired my work and my work inspired my life!




Linda McCoy


When did you realize you loved art and wanted to be ‘an artist’ I was always amazed by art, but also

convinced I wouldn’t be able to do it. I didn’t start painting until I was 35, I took a local oil painting workshop.

It was an awakening for me and I have been painting ever since.

Who has been the greatest influence from your past to mentor you to this career

My mother who sat for hours and hours coloring with my sister and I while we recovered from Rheumatic


Who is your mentor today, or another artist you admire and why For watercolor I admire the works of

the incredbible Nita Engle. She has an incredible glow to her watercolors. John Lovett for the way he uses

watercolor and ink. For oil painting I enjoy the work of John Singer Sargent, for not only his color palette, but

the enormous body of work he created. The detail of his portraits in the jewelery and clothing, achieved with

just a brush stroke are an amazement to me.

What is your favorite surface to paint on Describe it if you make it yourself. For small detailed still

life paintings I use gessoboard, I like the smooth surface. Other oil paintings are completed on canvas. For

watercolor I use Arches 140lb cold press paper, or Sennelier 140lb cold press.

What brand of paints do you use The majority of paints on my palette are handmade from Blue Ridge in

Asheville, North Carolina. I like Gamblin’s Titanium White, and all of the other colors I use are from Winsor &


Do you have a favorite color palette For oil paints I use white, cadmium yellow, cadmium yellow medium,

permanent rose, cadmium red light, napthol red, pyrol ruby red, ultramarine blue, colbalt blue, cerulean

blue, thalo blue, thalo green. This is my main palette of colors, but I will add a new color if I feel like experimenting.

I do not use burnt umber, except on the very rare occasion I need a burnt umber back ground. I

never mix it with any of colors on my palette. This is true in both oil and watercolor. My watercolor palette, is

lemon yellow, aurolean, cadmium scarlett, permanent rose, windsor red, cobalt blue, ultramarine blue, cerulean

blue, paynes grey, thalo green, these are all Winsor Newton colors.

What is your favorite color in your closet Turquoise

What subject appears the most in your paintings and whyFlowers, for the sheer beauty of their color,

intricate detail and grace. Hyacinths are definitely one of my favorites. When the sunlight warms the petals,

also creating deep shadows, I will paint until I have captured every nuance. When I am painting, their fragrance

fills the room.


How often do you paint How many hours a week Everyday, sometimes eight hour days if I am working

on a detailed painting. I keep a sketchbook nearby, if I think of an idea for a painting or I need to do some

thumbnails I will drop everything and sketch it.

How would you like to be remembered As a good colorist.


Best of Show Autumn Colors

Judy Crowe

Juried Show Fall 2012

When you think of Fall colors, what names of paint color come to your head first

Oranges, reds and all warm colors, the color of fall!

Do you most often paint from photographs, a mental picture, or real life

I paint from life in the studio or outdoors probably 85 % of the time, then I use my memory and photos.

What do you do when you have a creative block

Work anyway…or do something having to do with my art to stimulate my motivation such as send out

emails, work on framing, varnishing, etc. I also look at good art produced by master painters and just think

about what I want to say with my art perhaps by visiting an outstanding gallery or by visiting a museum


What painting of yours has the most meaning to you and why

My painting “ Old Sweet Story “ because it represents my faith journey.

What is the most challenging part of your creative process from blank canvas to finished piece

The hardest part of a painting for me is finishing a piece and knowing when to stop. I feel that the end of

the painting process is the time when it becomes yours, with your own signature on it…meaning your own

finishing touches. Those are the things no one can teach except time and many failed paintings, experience.

Sometimes I need to let a painting set up for days or weeks to really know whether I feel it is finished.

I turn it against the wall so that I can’t see it and then look later with a fresh eye.

What is on your easel right now

Nothing…! I have been away. I have been to Tucson for the National AWA show and am looking forward to

getting back to the studio.

About Judy Crowe

My work is mostly about everyday life. I find a lot of inspiration and joy in painting the beauty of everyday

things, places and people. My goal is to create something of lasting value with confidence and honesty.

I began painting over 20 years ago and have been fortunate to study with many gifted and giving professional


Professional memberships include American Women Artists Association, Outdoor Painter’s Society, American

Artist’s Professional League, American Impressionist’s Society, Oil Painters of America, and Alla Prima

International. I have exhibited nationally in various juried competitions and shows.

My work has been featured in several fine art publications such as International Artist, American Art Collector,

Southwest Art, Galleries and Artists of the South. You can read these articles and view my work online



Juried Show Fall 2012

Jason Tako First Place

Juried Show Fall 2012

When you think of Fall colors, what names of paint color come to your head first

I generally use a limited palette of Cadmium Lemon, Cadmium Red, Ultramarine Blue and Titanium White.

Given this limitation (pun intended) I don’t generally think of a particular pigment name, just the fact that I’m

going to use a lot more Cad. Lemon and Cad. Red than normal.

Do you most often paint from photographs, a mental picture, or real life

For my wildlife, I have to use photos since animals don’t pose. However, for my landscapes, I almost always

work from smaller field studies that I have painted on location, as well as photos. The field studies are

extremely important. They give me the accurate values and colors that a camera can’t capture. Also, since

I have already painted the scene while standing in it, I have an organic connection that gives me more confidence

in the studio. This confidence can manifest itself in the freedom to change things around to create a

more pleasing composition. The photos are usually used for details that I may not have had time to capture

in my field studies.

What do you do when you have a creative block

I do everything from calmly putting the painting away for a while to sailing it across the studio like a frisbee.

I strongly recommend the former solution. But I have come to realize that most of my blocks, or problems,

stem from poor preliminary planning and impatience in getting started.

What painting of yours has the most meaning to you and why

This is a very tough question, as there are a number of paintings that have meaning for me. For instance,

there is one of my beautiful wife that I did a few years back. It almost sold, but I now have it hanging in my

studio. I also have paintings I did of our children that hang in our home. As far as landscapes, I have one

called “Early October Wetland” that is on my website. This scene depicts a wetland on my childhood bus

route in rural Minnesota. This scene has a lot of meaning for me. Plus I love the way I handled the brushstrokes.

What is the most challenging part of your creative process from blank canvas to finished piece

Making compositional decisions and judgements, especially when a piece is almost finished. Many times

there is no right or wrong solution, just preferences. I can drive myself crazy deciding if I should put a tree

branch here, or a sky hole there. I always seek perfection even though I know I will never really reach it.

What is on your easel right now

Honestly, nothing at this time. I just finished a show, and I’m working on a bunch of small preliminary pencil

sketches to work out new landscape compositions. Like I said, if I don’t get it right, or at least close in the

preliminary process, I’m just creating future frustration for the easel.

About Jason Tako

Jason started drawing at a young age. It was discovered by his teachers and peers that he possessed a

knack and desire for artwork, a desire that he pursued until his senior year when he switched to playing

electric bass. About 10 years later, after realizing how much he missed being outdoors and recording his

observations, Jason bought a sketchbook. He painstakingly worked his way from pencil to watercolor while

using nature and wildlife as his subject matter and teacher. A love for wildlife and landscape came natural

being that he was born and raised in rural Minnesota.


Jason went to college and earned his degree in Applied

Visual Arts and was encouraged by his teacher Bara

Arens to pursue a career in fine art. Jason furthered his

studies under renowned landscape artist Scott Christensen

and a constant passion for plein air painting.

Using a soft and limited palette that usually consist of

only the three primary colors plus white, Jason seeks to

portray reality in both form and light. “Light affects form,

but form also affects light. We do not paint light only,

we also paint what light illuminates. Even light needs

something to shine on for us to see.” Jason’s use of

soft edges, textures and varied thicknesses of brushstrokes

shows his search for creating paintings that

combine lighting along with a strong feeling of texture,

form and solidity. This gives his work a look and feel

that is refreshing and unique among today’s wildlife and

landscape art. “The human eye doesn’t see every single

feather, hair or branch in perfect outline, it sees masses

and shapes or color, it sees structure and light. These

objective images translate into a subjective emotional

human response. This is what I want people to see and

feel in my work.

Juried Show Fall 2012


Kristin Grevich

I believe that artists are born with a gift to see the beauty of this earth. The beauty is so breathtaking that we are

driven to create and share our visions.

These paintings are from the show called: “The Gift”

I received a gift from Beverlee of a cabin in Northern Minnesota. From this gift came paintings of the people, life,

animals and beauty of the northern landscapes.


Portraits and Commissions

Barbara Haviland


Why Abstracts

As a child, my parents took my sister and I to many many places of beauty. Looking back, I think the

things that made an impression on me were not so much the actual sites, but the color combinations, the

contrasts between light and dark and soft and hard edges. Painting abstracts gives me the chance to focus

on just those make them more important than just trying to replicate a scene or a view of

something tangible. By narrowing the focus of my work to just the elements that made me say, “yes, that

moves me, that focuses my emotional response”, I can portray and pass on what I experience.

The finishing of a painting is very much tied to work and focus. I cannot paint by just thinking about

it. The painting gets done when I sit in front of the canvas and apply paint. This sounds simplistic, but

even on days when I don’t seem to be accomplishing much with the application of paint to canvas, I am

moving forward. As long as I am in the moment and continuing to work, I eventually get to a place where

good things begin to happen....where the hand and the paint take over, and the rest of me just follows

along. This doesn’t sound particularly mysterious or intuitive, but much of abstract painting is just about

doing the work, applying the paint, spending the time, and getting into the mental zone.

Nancy Eckels

Nancy Eckels

Condition Red 36 x 24 Acrylic

Abundant Joy 48 x 72 Acrylic

View Through Autumn 48 x 48 Acrylic

Mingle and Merge 40 x 40 Acrylic

Contemporary F

by New York Art

Hall Groat II NY Critic Review

A Review of Artist Laurie Pace

Hall is taking a month off for the Holidays and so in the slot this month is a small write up he did

on Texas Artist Laurie Pace in 2008.

“The work of Laurie Pace is firmly rooted in both the classical ideal and 20th century

Modernism along with nuances of 19th century Barbizon school romanticism.

Similar to many postmodern artists, Laurie’s work varies in form and makes witty

allusions to artistic sensibilities from the past. Her paintings speak volumes regarding the

sensual and evocative nature of visceral oil paint.

The manner in which Laurie handles this classic medium reaches far beyond the mere

objectiveness of the subject at hand, and touches upon such elements as timeslessness,

compassion and perhaps even grace. A painting of a horse is not merely a horse, but an

iconic expression of the omniscience of all nature. The viewer is lured in through the use

of symbolic colors and sassy paint handling, and can’t help but experience similar

sensations as the horse, whether it be vulnerability or longing.”

Hall Groat II

Professor of Art

Broome Community Colleg

President of the New York Art Collection


ine Art Review

Critic Hall Groat

Hall Graot II NY Critic Review

Painter Hall Groat II, professor of fine and media arts at Broome Community College, teaches foundation

courses in painting, drawing, color theory, and computer graphics. Groat earned a master of fine arts degree

in painting and drawing from City University of New York at Brooklyn, a bachelor of arts in art history, minoring

in studio art at Binghamton University, and attended graduate and certificate programs at Buffalo State College,

Syracuse University, and Savannah College of Art and Design. He also attended summer sessions at

Chautauqua School of Art, Chautauqua, NY, and Vermont Studio Center in Johnson, Vt.


Texas Artist Debbie Lincoln

Debbie’s New Year’s Challenge

50 Cows over 50 Days

When asked why the cows and what direction was the challenge, Debbie replied:

“I have been thinking of ways to challenge myself without paying an arm and a leg and going

to workshop after workshop.

One way to send the brain in different directions is to limit the available colors to paint with -

limiting the palette. I have done this before with mixed results.”

Currently she has had many cow images submitted to her for these small paintings. If you are

into cows... this is the artist you want to send your favorite cow photo to immediately.

Blog Review

Nancy Eckels Lorrie Boydston Elizabeth Chapman

Rick Heck

Rick Heck

Kim McAninch

The artwork found on the pages of

is a bounty of color and style. The strength of this art work will amaze you. You

might want to subscribe to this blog for updates.

Nancy Eckels

Elizabeth Chapman

Rick Heck

Lorrie Boydston

Nancy Eckels


Kim McAninch

Abstract Artist Spotlight


Nancy Eckels

Abstract Artist Spotlight

Elizabeth Chapman

Abstract Artist Spotlight

Mary Jo Zorad

Abstract Artist Spotlight

Kimberly Conrad

Abstract Artist Spotlight

Rick Heck

Florida Artist Spotlight

Abstract Artist Spotlight

Daily Painters Abstract Gallery










Daily Painters Abstract Gallery

Daily Painters Abstract Gallery









Daily Painters Abstract Gallery


Bob Coonts

Linda McCoy

Coastal Collections

Kimberly Conrad

Discover your personal sea coast to enjoy year round,

From Conrad Coastal Collections.



Starlight Run

30 x 40 Acrylic Overlays on Canvas

Oil Painting DVDs

Professor Hall Groat II

Step by Step Demonstrations

Vickie Guthrie

12x16 oil “Hecho in Mexico”

Glimpses of Life through Soften Realism

Artist of Texas


Glass Sculpture



ily Painters.comDaily

Delilah Smith

Carol Marine

Catherine Nolin


Gerald Schwartz

Carmen Beecher

Carol Carmichael

Dreama Tolle Perry

Cori Soloman

Julie Ford Oliver

Karen Margulis

Tom Brown



Connie Chadwell

Gretchen Kelly

Filomena Booth

Sarah Sedwick

iel Peci

Diane Whitehead

Jamie Williams Grossman

Barbara Jaenicke

Justin Clements

Hall Groat II

Kay Crain

Jeanne Illenye

Adam Webster

Mary Maxam

Jo MacKenzie

Robert Joyner

Cathleen Rehfeld

Gerard Boersma

Brenda Ferguson

Carol Nelson


Collection Starters under $200

Carol Schiff

$150 6 x 12 inches


Linda Rupard

$150 15 x 22

Maryann Lucas $100

6 x 6 inches

Collection Starters under $200

Collection Starters under $200

Sunny Williams

$199 12 x 12 inches

Tim Lincoln

$175 18 x 14 inches


Patty Ann Sykes

$149 10 x 12 inches

Collection Starters under $200

Maryann Lucas $50

6 x 6 inches

Collection Starters under $200

MaryAnn Brooks

$150 20 x 16 inches


Carol Schiff

$96 8 x 6 inches

Collection Starters under $200

Collection Starters under $200

Carol Schiff

$160 8 x 10 inches



Collection Starters under $200

Maryann Lucas $50 7 x 5 inches

Mary Jo Zorad Artist of Washington


Marie Fox

Soaking Up Some Sun

on a Far Away Beach


Diane Whitehead

Hall Groat III

Making Memories and Keeping Them Close.

American Fine Artist

A Little Bit of Something Old and Dear.


Dutch Art Dallas Texas

Fourth Annual Showing of the Artists of Texas at Dutch



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



Nancy Medina

Dutch Art Gallery

Painting by Kristine Byars

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