V I S U A L L A N G U A G E
contemporary fine art
Volume 2 No. 6
Contemporary Fine Art
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June 2013 Vol 2 No 6
MIXED MEDIA FIGURATIVE AND
ABSTRACT COLLAGE AND PAINTING
Like many artists, my career was interrupted by
the realities of having to make a living. Now that
I am retired, I have finally come back to making
art and moving in quite a new direction. My
past work consisted mainly of acrylic narrative
paintings on artboard and canvas 30”X40” while
my current work is in mixed media on 12”X9 or
12”X12”” wood panels. Maybe the two shall eventually
meet somewhere along the way.
VL Cover Artist
L O R I L O V E P E N L A N D
CFAI New Artists Pages 5
Painter’s Keys - Robert Genn Page 14
Colors on My Palette Pages 23
Rita Cirillo and Carol Engles
Artspan Focus Page 25
Painting Light/Shadow Page 35 Hall Groat II
Women Artists Out West Page 41
VL Feature “Is the Medium the Message” Page 67
Artspan Studio Visit Page 73 Gerald Barnes
Art Review Page 83 by Sarah Hucal “The Equisite Doodle”
Artspan Interview Page 89 Alex Mitchell
Artspan Studio Visit Page 95 Amy Steinberg
VL Studio Visit Page 99 Bryan Holland
VL Studio Visit Page 107 Nancy Standlee
VL Gallery Visit Page 111 Theater Gallery
VL Photography Page 115 Miro Trimay
CFAI Art Challenge Page 123
Carol Smith Myer and Lunell Gilley
CFAI Blog Review Page 133 Mixed Media Artists
CFAI Artists Spotlight Page 135 Southern Artists
Daily Painters Page 142 Sharman Owings
CFAI Art Collections under $200 Page 149
VL new artists on cfai.co
Michele Fisher ARTIST.com
Mixed Media Paintings
J O N A T H A N
C A L L I C U T T
The Five Grace
Lincoln ~ Pace ~ Togel ~ Whitehead ~ Zora
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 th
artworks - shows to the US and to Europe. All five artists are spread out over the US.
Who are The Five Graces
Debbie Grayson Lincoln (the steady grace), Laurie Justus Pace (the heartbeat grace), Conni
Tögel (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
Contemporary Fine Art
Visual Language Magazine Staff
Editor -in-Chief Laurie Pace
Executive Editor Lisa Kreymborg
Managing Editor Nancy Medina
Consulting Editor Diane Whitehead
Consulting Editor Debbie Lincoln
Feature Contributor Robert Genn Painter’s Keys
Artspan Media Manager Sarah Hucal
CFAI Contributor Kimberly Conrad
Feature Editor Art Reviews Hall Groat II
Feature Writer Barry Scharff
VL Sponsor ARTSPAN Eric Sparre
Marketing and Development
Executive Director Laurie Pace
Senior Director Lisa Kreymborg
All Artwork is Copyrighted by the Individual Artists.
Visual Language Vol 2 No 6
with Robert Genn
The downside of isolation
April 19, 2013
Yesterday, Carolyn H. WarmSun of Montclair, California asked, “Do you ever do telephone consultations with
artists If so, at what price and how are they arranged I am imagining us both on the phone in front of computers
where you can see my website as we talk. I’m looking for straightforward advice. With all these paintings around
here, I feel like an orphanage matron--I need to get these kids out in the sun and find them a good home.”
Thanks, Carolyn. I’m sincerely sorry, but I don’t arrange telephone or computer consultations and, when they happen,
I don’t charge for them. I’d love to consult with folks this way, but I’d need two weeks tacked onto every day.
Carolyn’s paintings exude the colour and warmth of the American Southwest. Broadly abstract and Zen-like, they
are loaded with texture and commonly-found materials. Glass beads, fiber paste, tissue paper, even Halloween spider-webs
add to the mystique. You can tell she’s the kind of artist who likes to look at her work-in-progress and see
what’s happening--watching the paint going here and there. A seeking, exploratory and curious worker, she’s having
a lot of fun. FYI, we’ve put some examples of Carolyn’s work at the top of the current clickback.
Requests for straightforward advice come to my inbox every day. Many are wondering what to do with the buildup
of orphans in the studio. Like the art of poetry, where there are more poets than readers of poetry, the art of painting
is heading in the same direction. My job, as I see it, is to try to give tail-wagging encouragement and informed comment
on our miraculous vocation. My suggestion to reconsider chartered accountancy is a last resort.
It’s not just a North American phenomenon, but people often feel the need for green feedback to justify their actions.
In painting, this concept may be unsustainable. Perhaps the best advice is, “Keep at it and let the joy build your proficiency.
Fall in love with your own unique processes. Don’t hide your stuff under a bush. Know in your heart that
there is no such thing as an undiscovered genius.”
Best regards, Robert
PS: “My goal as an artist is to be seen as relevant, unique, and excellent by artists whose work I respect and admire.
I also hope to help people experience their connectedness to Mother Nature.” (Carolyn H. WarmSun)
Painter’s Keys - Robert Genn
Esoterica: Artists generally need a lifetime to build acceptance. Painters like me coast on a legacy of not deserting
the ship. Periods come and periods go, times are up and times are down, but someone is always in the engine room.
My heart goes out to true-to-themselves painters like Carolyn, and there are millions. Still, things happen to those
who keep a steady hand on the tiller. And it’s human nature to keep buying the tickets.
I had a good friend, now deceased, whose path through life was unfocused and lackadaisical. He lacked gumption.
“When my ship comes in,” he said, “I’ll be at the airport.”
Roll on, deep and dark blue ocean, roll.
Ten thousand fleets sweep over thee in vain.
Man marks the earth with ruin,
but his control stops with the shore.
Moving Waters, Catching Waves, Under Sail
Texas Contemporary Landscape Artist
Colors of Life
Visit my website for workshops and class schedules.
Title: Beware! Size: 12”X9” Mixed media on wood panel.
Abstract, Esoteric, Channeled Art
Pink 6 x 12 Acrylic on Canvas
Kimberly Kelly Santini
PAINTINGS WITH SOUL
**cats, horses, bunnies, etc always welcomed.
Colors On My Palette
When did you realize you loved art and wanted to be ‘an artist’
There was never a single defining moment of realization that I
wanted to be an artist. As a small child, I loved coloring outside
the lines in the coloring books, but I loved many other things as
well, with playing outside being the most important thing I did.
After moving to Hawaii in 1974, I started taking painting classes and found that I enjoyed the process and was
producing results. But I had other concerns at that time as well: mostly raising 3 children. And then going to
college to study engineering and then working as an engineer. So, it was not until 1998 (or 99) when I traveled to
Europe for a plein air workshop with Ian Roberts that I honed in on my desire to be an artist. After painting all
day long, every day for 10 or 12 days, I realized that I REALLY liked the process of painting and that I COULD do
it all day without getting bored. From that point on, until I finally gave up the day job in 2005, I pushed to develop
my skills and work up the courage to take the leap into fulltime art
Who has been the greatest influence from your past to mentor you to this career
Strange as it may sound, I would have to say it was my Mother. She wasn’t even an artist and she had actually
passed away by the time I did stop working and leaped into art full time. She, as the mother of 9 children in a family
low on resources, was the most resourceful person I can think of. She made all of our clothes, often from fabric
recycled from used clothes; she kept a large vegetable garden and canned most of it to keep us eating throughout
the year; she made drapes, mended socks, embroidered, baked the most delicious bread... the list goes on and
on. At the time, I did not appreciate any of that, but in retrospect, I realize that it was her creativity that kept our
family afloat and that strongly influenced me to do creative things, as well. Her death in 2004 was revelation that I,
too, was mortal. That I would not live forever and if I wanted to make something different happen in my life, I had
better do it while I still had time, energy and health.
Read more at http://www.cfai.co/colors-on-my-palette/rita-cirillo
When did you realize you loved art and wanted to be ‘an artist’
I enjoyed art as a kid. When others wanted to play board games or cards, I always wanted to draw. Growing
up in the Northwest and spending time with my Grandparents and relatives in Montana, I drew ranches complete
with corrals, barns and ranch houses. Loving horses, I hoped to have a ranch like those that I envisioned
and drew some day! I also drew horses, but not as often as the ranches. I also, enjoyed drawing and painting
mountains, volcanoes and anything geological! HA!
As I grew older I became interested in design. I was my high school’s yearbook editor and I credit that
experience with my interest in attending The University of Oregon’s School of Journalism. My emphasis was
in advertising. It was a good fit for me because I enjoyed both writing and advertising design and art. While
in college and after, I took a variety of art classes - including watercolor, oil painting, printmaking, weaving,
design, drawing and life drawing. Ironically, I never took any classes in pastel which is what I enjoy now.
Who has been the greatest influence from your past to mentor you to this career
My mom. She encouraged me to enjoy art and especially encouraged me to enjoy and appreciate abstract art.
She had a Picasso print in the kitchen which she just loved! My dad liked Rembrandt, he wasn’t very fond of the
Picasso over the breakfast table. My parents took us to Europe to see relatives in Sweden. We spent six weeks
in Europe and went to The Louvre and other wonderful galleries. I was 11 years old and the impressions of that
trip influence me today.
Who is your mentor today, or another artist you admire and
My mom is still my mentor because she always enjoys art,
flowers and gardening. They bring her joy. I admire a lot of
artists including my fellow artists on the Daily Painters Abstract
blog, CFAI, Artspan and other sites because I know how
hard they work and how much of themselves they put into
their beautiful art - how can you not admire that! Some of my
favorite past artists include Van Gogh, Monet, Sisley, Bonnard,
Kandinsky, Vuillard, Dufy, Toulouse-Lautrec, Chagall, Degas,
Picasso, Cezanne, and Hofmann.
Colors On My Palette
Read more at http://www.cfai.co/colors-on-my-palette/carol-engles
Florin Ion Firimiţã
Jonelle T McCoy
Oklahoma Contemporary Equine Artist
Harbinger © 2012
A tree says: My strength is trust. I know nothing about my fathers, I know nothing a
my seed to the very end, and I care for nothing else. I trust that God is
out the thousand children that every year spring out of me. I live out the secret of
in me. I trust that my labor is holy. Out of this trust I live. Hermann Hesse
Sixteen years ago, I decided to take a creative leap of faith from that of a professional dancer to that of a visual artist…translating
my passions, life adventures and whimsy onto paper, canvas and more recently three dimensional assemblages. My love of experimentation
combined with my sense of humor and knowledge of design, shape, color, line, and composition has been a transformational
experience. When I began building these structural assemblage creations, I discovered that putting found objects together
is intuitive. Each piece takes me on a personal journey of joy and delight. Like a cat, I seem to land on my feet, effortlessly. The
outcome of each piece is always an unpredictable surprise and ranges from sophisticated to humorous. I enjoy leaving the interpretations
entirely up to the viewer.
My work has been shown in galleries and venues throughout California and is held in private and corporate collections from East to
West, Hawaii and France.
MIXED MEDIA COLLAGE AND ASSEMBLAGE
Landscapes, Figurative and Still Life
Hall Groat II
Lemon with B
American Fine Artist
Notes on Form Light
Painting Light and Shadow
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.nyartguide.net/dvds/
Light enhances the three-dimensional illusion of the subject, adds drama and defines the
planes that make the form appear to recede back into space. In classical paintings from the
15th-19th century it’s impressive when the image in the painting seems so life-like that you
feel like you can touch it. The “form light” is the area on the subject that is facing towards
and illuminated by the light source. In curvilinear forms such as the lemon, (plate 8) the
light will slightly gradate around the curvature of the form. As the light moves around the
form, it becomes both cooler in temperature and less intense.
The temperature of the front light is affected by the color of the subject and type of light
source. When natural daylight is used to illuminate the subject the front light will
appear cool and bluish, and when using an incandescent or tungsten light bulb it will look
warm. Most light bulbs radiant a yellow-orange cast, however color correct bulbs (full spectrum
light) will approximate natural light and appear cooler.
Before proceeding to paint the form light, wipe away with a paper towel the entire transparent
undertone back to the initial white of the canvas or ground, in the areas where the light
is striking. This will prevent high-key saturated colors, such as yellow or orange from becoming
dulled and less intense looking when painting the light. When working with darker
colors such as blue or green this is not as critical.
Plate 8 (Detail) Lemons on Sterling Silver Plate
8 x 10 Oil on Canvas 2009
When suggesting the light striking the forms, apply the paint thickly and with simple, bold,
overlapping strokes. Appling horizontal and vertical geometric strokes with a long flat or filbert
brush works well. Just avoid applying the paint in little pointillist dot-like dabs, and instead,
work towards interweaving the strokes together like the straw of a basket. Take note of how raw
and crude the paint looks on the right sides of the three forms (plate 14), and how a few large
brushstrokes define the entire light side of the teapot lid. At this point, don’t blend; just layer the
paint like if you were applying peanut butter on to a slice of bread. Make it look thick and gooey!
Work with large, simple brushstrokes through using the biggest paintbrush you can handle.
With this particular 8x10 in. piece I used a #10 flat bristle brush to block in all of the lights,
working with both the length and width of the bristle wedge. Later on in the painting, these
initial bold spots may be blended softly around the curvature of the forms into the shadows to
appear more natural looking.
Notes on Directional Light
Directional light stems from a specific slight source such as a lamp, candle or the sun, illuminating
one side of a motif, whereas Ambient or Resonant Light is light that is very general and comes from
Notes on Form Shadow
When working with one directional light source the
form shadow will undoubtedly be a darker value
compared to the light side of the subject. The degree
of darkness is dependent upon the intensity of
the light source. A light that is positioned closer to
the subject will be more concentrated compared to
a light that further away and diffused. Also, if there
exists a secondary light source on the opposite side,
such as a window, the shadow side will not look as
dark, and will appear cooler, especially when using
Lemons on Sterling Silver Plate 8”x10” Oil on canvas 2009
In strict classical painting the shadow of the form is usually painted before the light side. Through
years of teaching, I’ve discovered that beginning painters often have a difficult time keeping the colors
on the light side looking clean and bright. The students will paint the shadow side of the subject
before the light side, and end up muddling the lights somehow. The lights end up looking muted
and not alive with intensity. After painting the shadows, one must either clean their paintbrush very
well or use a second brush to paint the light side with.
Light and Shadow
with Hall Groat II
I recommend for people just beginning, to paint the light side before the shadow of the form. If
the lights are not kept clean and bright, the illusion of light and shadow will be very difficult to
achieve, and ultimately the painting may lack a sense of form and appear as if it was painted in
the dark. After learning the basics of painting through using strong light and shadow patterns,
then one may try depicting the subject within the shadows or without a definitive light source.
This is certainly a challenge; therefore why not just first progress though the stepping-stones.
The shadow of the form should be painted thinner and quieter compared to the thick and bold
light side. Work with the same large-sized brush that was used to paint the lights, however be
certain that it’s absolutely clean, or use a second one. Before painting the shadow areas study
its value through squinting like before, to simplify what you see. In most cases, the value of the
background right next to the shadow will be quite similar, and in some cases identical. In plate
15, note how the value of the left side of the teapot spout is only slightly darker compared to the
background. Squint so your eyes barely open and the values will appear the same. Now, where
the left edge of the teapot meets the background the values are identical, however the curve of
the teapot lid is a bit warmer compared to the background. A subtle contrast in the temperature
of the tone is the only thing that distinguishes them. During your next painting have some fun
through exploring dramatic light and shadow patterns.
Examples of Paintings with Strong Light and Shadow.
Radishes 8x8 in. Oil on panel by Hall Groat II
Peach and Peachtree Branches 8x8 in. Oil on
canvas by Hall Groat II
Apple Pyramid 8x8 in. Oil on panel
by Hall Groat II
“WAOWing the C
Women Artists of the West (WAOW) is a group whose specific objectives and purpose
include uniting women artists; promoting appreciation of art created by women; encouraging
technical excellence by educating artists and the public through exhibitions
and workshops; encouraging professionalism by advising women artists regarding business
practices; providing publicity and national awareness for members through advertising
and web presence; and developing a spirit of unity among its members.
Our Beginnings as Women Artists of the American West
Women Artists of the American West (WAOAW) was founded in 1971 in Norco, California
by a small group of women wanting to network as professionals and compete
in the world of art. They pooled their efforts and began promoting their careers with
shows and advertising. WAOAW soon became known for its high caliber of artists and
distinctive western style.
Their debut exhibit was held in Palm Springs, California. They continued to show in
locations such as the Cowgirl Hall of Fame in Fort Worth, Texas, in Las Vegas, Nevada,
and then on to other areas of the country including New Mexico, Colorado, Wyoming,
Mississippi, and Arizona. In these early years, the membership was limited to 35, each
of whom played an active role, investing time and money in shows and advertisements
to promote their professional growth.
Eventually the decision was made to increase membership in order to support the increasing
demands for financing and coordinating the group’s activities.
WAOAW artists were known for their western pieces in various media. However, as
many women artists in non-western genres wanted to become a part of the group’s legacy,
in 1988 the bylaws were changed to embrace additional genre, subject matter and
style. The membership chose to drop “American” from their name and became what is
known today as Women Artists of the West.
S OF THE WEST
ly 6 – 28, 2013
Cowgirl Dreamin by Glynnis Miller 12 x 16 Pencil on Paper
Teri Gortmaker Just Us 12 x 9
Kim Shaklee, Master Signature Member Tanay and Tanu
18 x 21 x 18
Mary Ann Cherry, Master Signature Member Pastel 12 x 16
Women Artists of the West as it is Today
Women Artists of the West (WAOW) is a unique and respected organization of over 250 professional
women artists. WAOW has experienced many changes and much growth in its decades of
supporting and promoting art created by women. Within the realm of fine art, there is no restriction
on genre or subject matter or location of its members. Member artists work both in their indoor
studios and en plein air. They paint and sculpt still life and floral, landscapes and seascapes,
figures and portraits, ranch and rural life, old west and contemporary west, wildlife and domestic
animals, historical events and Native American subjects. Styles include abstract, impressionism,
expressionism, realism, representational and contemporary in all fine art media in two and three
dimensions. They do it all!
Left: Kathryn McMahon Catch the Wind, Long Beach 16 x 12
Above: Kathryn McMahon painting a homestead in Colorado
The membership of WAOW now reaches across and throughout the country, with members in more
than 30 states. Some members live in remote areas, while others live in suburbia or the fast-paced
city, from California to Maine to Texas to Ohio to Washington to Florida.
WAOW has long been interested in helping aspiring artists in the spirit of mentoring, and many of
its members share their expertise through workshops and books and, for the members’ proprietary
benefit, an online forum for art tips and extended discussions.
The common thread of WAOW artists is the passion for their work and the desire to express the joy
and beauty of the world around them. During the organization’s existence, WAOW members have
collectively made their mark on the art world. They have done this as a team of professionals, with
plans to continue the journey together.
June T Brown Sculpting
June T Brown Sculpting Racoon
Sally Fuess Cheeky 12 x 12 oil
Sharon Fullingim 12 x 10 x 5 bronze
Ann Goble Sunflower and Your Face Fasinates Me 12 x 12 oil
PLEASE JOIN US!
WAOW 43rd National Exhibition
“WAOWing the Centennial State”
Exhibition: July 6 – 28, 2013
Cultural Arts Council Fine Art Gallery
423 W. Elkhorn Avenue
Estes Park, CO 80517
Award of Excellence
Western Art Collector
Women Artists of the West
41st National Exibition
Big Thoughts 18” x 22”
Associate Member Women Artists of the West
T I N A B O H L M A N
OPS . CFAI . AOT . IPAP
High Plains Wind Break - Oil - 12x12
Phyllis Mantik deQuevedo
WAOW- Associate Member
Phyllis Mantik deQuevedo
WAOW- Associate Member
“Reflections On The Dark Side”
Award Winning Colored Pencil Artist, Virginia Carroll
Associate Member of Women Artists of the West
Signature Member of the Colored Pencil Society of America
B E C K Y E N A B N I T S I L V E R
Soaring Mixed Media Collage
LORRIE BOYDSTON FINE ART
JUDITH Judi Goolsby GOOLSBY
Narrative Acrylic Paintings
For You 39 x 24
Suzy Pal Powell
D O N N A G E I S T B U C H
D A W N W A T E R S B A K E R
“Cloud Canyon” 36x60 Oil on Canvas
Colorado Mixed Media Artist
Mixed Media Workshops
Coming to Art of the Carolinas, November, 2013
VL Is the Medium the
Living in a world of ever changing themes, the question of what to create and how to create
it are relevant to the success of the artwork, its look and eventual public acceptance.
I am of the belief that it is not as much the medium as the message, who is making it and
why. Picasso worked in many different mediums because each offered a unique connection
to the expression of the idea and look of what he made.
Artists who settle into one medium and one style run a risk of becoming obsolete and
complacent. To think you have found your way to unique expression may be true for a
short time... but as the world marches on you will need to grow with it to be a part of the
ever-changing expression of how society will see your work.
Brush Fire By Barry Scharf
It is important to think about your
choice of medium with forethought,
integrity, skill and heart. What will
best express your idea with clearly It
is the result that counts, it is the result
that we invest our energy in. Over
the years and in many exhibitions in
which I have shown artwork I often
have been surprised by how others
would interpret my work. It was often
misunderstood, unclear and confusing
In order to find out why I needed to analyze and understand my mediums and not just use
what was at hand.
I painted in oils, used pencils, inks, watercolors and acrylics. I used oil pastels, chalk pastels,
carved wood, marble and alabaster. I have molded paper and built 3d models, worked
with clay and porcelain and all this has produced a verity of styles and expressions one no
more or less valid then the other. This has led to an understanding of how to represent the
overall experience, expression and meaning as an artist.
Because of the ever changing, march of technology I have embraced the digital age. I have
learned Adobe Photoshop and other plug-ins in order to produce digital works of art. I
have learned to master the printing process to produce fine prints.
Message by Barry Scharf
Now as a user of this new digital technology, I am current and up to date with my creativity.
New doors are opening and I am seeing differently.
I am richer for this verity and more capable because of it. I hope that all artists will find the
medium that frees them from fear and inhibition and allows them to see and follow their vision
clearly to successful expression and understanding as an artist.
Creativity is dependent on confidence of what and how we express of ourselves, mediums we
choose must build a comfortable connection between the artist and the expression of the idea.
Additionally, we must realize that nothing is permanent in life all things are a passing parade of
development. Artists must embrace the changes that life and time force upon us or fall stagnant
in the evolution. We must remain relevant to our times and audience. In this way, we live a life
that is serving a greater good and not so self-absorbed. Barry Scharf
Morning Coffee And Remnant Dreams By Barry Scharf
The Art of Transformation
New Moon Breath – Indigo Winds, Mixed Media: Acrylic, Collage, Resist Dyed Silk
Visit Art in the Park in Berkeley Springs,WV to see the work in person and to meet
Victoria (artist/writer/counselor/shaman). Please see the schedule page on the website for dates
as well as for information on Come True My Heart collage workshops.
Found Worlds Photography
South Hill Gallery .
Racing the Morning
28 x 42 inches Oil on Canvas
Studio Visit Gerald Barne
Since early childhood in Ireland, images of extraordinary places have always fascinated me. I wa
albums of pictures taken by my father, a world traveler and accomplished amateur photographe
small brewing company and often received letters from suppliers overseas. He would bring me s
lection. These became my window to the world. By the age of 10, I already knew where I wanted
icaca, Katmandu, and Samarkand, just to start! Everything I have seen on my travels has affected
world and is reflected in my art.
In the 80’s I was in the middle of my “Japanese period”, and I developed a technique to force acr
an airbrush, which allowed me to create large areas of saturated color. I started to incorporate d
and was especially interested in creating depth by using the illusion of multiple planes. Subject
stylized figures, architectural elements and abstract landscape.
In the 90’s, career demands and the need to fund my travel bug, forced me to put my art on hold
stopped collecting images and formulating ideas for the day when “ I would get back to my art”.
arrived in 2012 when I retired, and I was able to open my treasure trove of material and ideas st
that they just toppled out in torrents from my imagination. I had always wanted to try collage –
as I still wanted to combine painting and drawing as needed.
Collage allows me to pull all different types of images together to tell a story. The images can be
changed with paint, pencils and a whole variety of different tools. I am especially fascinated by h
riod from about the 1890’s to the end of the First World War, when empires toppled like domino
changed forever. Although I have traveled extensively I don’t speak any other languages fluently
time I think I could say “please” and “thank you” in thirteen. Arabic has to be the most beautifu
and has a versatility that allows it to be written in so many dynamic ways. But other scripts like
and Chinese to name just a few are also visually stunning. Adding text to an image adds anothe
started adding quotations or comments in Irish (Gaelic) but try to incorporate them into a title
glish to help the viewer make the connection.
Mise Ēire (I am Ireland)
When I was in High School in the 60’s, Irish history stopped with
aftermath, the Civil War, among ourselves. Michael Collins, who
(1919-1921). The refusal of some in Ireland to recognize the trea
superimposed on a copy of the poem Mise Eire (I am Ireland) wr
known by heart by practically every Irish schoolchild. In it, Irela
ish stamps and a Union flag dominate. One stamp is overprinted
bottom left is Cathleen Ni Houlihan an allegorical image of Irela
artist. She was supposed to epitomize the typical Irish cailin (col
s absorbed by the
r. He worked for a
tamps for my colto
way I see the
ylic paint through
matter was mostly
. But I never
Finally that day
ored up for so long
mixed media really,
istory – the pes,
and the world
although at one
l script in the world
r dynamic. I’ve
or reference in Enthe
Easter Rising in 1916. We were not taught about the resulting War of Independence against the British and its
se picture dominates this piece, led the negotiations with the British for a truce to conclude the War of Independence
ty he negotiated resulted in the Irish Civil War (1922-1923) in which Collins himself was ultimately killed. His photo is
itten by Patrick Pearse, one of the leaders of the 1916 Rising who was subsequently executed by the British. The poem is
nd speaks and chastises the Irish people for abandoning her and selling her into slavery. In the upper banner old Britwith
“Rialtas Sealadach na hÉireann 1922” - “Provisional Government of Ireland 1922”. The female figure on the
nd, resting on her harp. The model for this image was Hazel Lavery, an American, married to Sir John Lavery, an Irish
leen, girl) and her image graced all Irish banknotes until the introduction of decimalization in 1971.
Gerald Barnes GeraldBarnes.artspan.com
East of Suez
I am very fond of this old red Egyptian lottery ticket - the central background
of the image - but the size was too small for the dimensions I
work in so I duplicated and flipped it and butted the two pieces together.
Egypt is synonymous with the Suez Canal (as well as pyramids and
pharos of course) which my father transited on his way to Australia in
the 1930’s but which I didn’t get to cross until 2001. With the added
stamps and franks the whole piece looks like it could have been an official
transit document in itself - except for the rectangular frank on the
bottom left which is actually a modern-day frank from Cairo airport.
The building of the canal was a enormous feat for its day and took a
huge “can do” effort on the part of the French. Slightly tongue in cheek
I’ve added on the edge of the photo (of a non Egyptian!) “Is feidir linn”
– “Yes we can”!
One of the first ever-coloring books I got as
exotic Arab city. Through the arch of the ga
water at a well and nearby a camel carava
I was immediately taken back to that first
and his nephew William were artists and e
tion at the Victoria Monument in Calcutta
it. I never intend my work to be politically
Despite drawing inspiration from many ar
what’s going on below (except perhaps for t
to the piece. Free movement is something
Sometimes our movement is denied or rest
cent face is surrounded with the message “
Payment in Burma Parts I and II.
I came across these wonderful murals in a temple in southern India. The murals stretched
for quite a long way around an open gallery that in parts were deteriorating due to age
and weathering. The two images I have here were not contiguous to each other, but I
painted in a background to unite them and repaired the pallet where necessary. I loved
the energy and movement of the figures, and I thought to bring the two pieces together as
a diptych. To link the pieces I used a bank note in the middle divided between the two.
The original note did not have an Indian figure so I added one. Although the note was
issued by the Bank of India it was obviously intended for circulation in Burma which
the British administered from India – hence my title for the piece. In Part One I added a
miniature Mughal painting in which a man sports vey elaborate whiskers mimicking those
of the dashing man in the mural. A female classical Greek statue hovers in the top left and
doesn’t seem as out of place as it should. A few Indian stamps in matching tones to the
mural fall lazily off the top and onto the adjoining piece. In Part Two the little men seem
to be having a great time – could they be playing football Again I tried to pair up the
mustaches of the central figures with that of the rather somber figure in the top right-hand
corner. A made-up stamp at the top is over printed with an elaborate Indian frank. More
regular stamps escape off the page at the bottom right-hand-corner. In addition to Egyptian
stamps I seem to have a lot of Indian ones! On the far right edge an Indian woman
counter balances the Greek statue on the opposite image.
a child had illustrations from around the world. One in particular captivated me. It depicted an entry gate into some
te was a tantalizing view of a city of massive domes and slender minarets.. Outside the gate veiled women collected
n rested under the shade of palm trees. When I came across another image of a mosque with it’s domes and minarets
coloring book. I anchored the image with an Egyptian stamp (I have a lot of old Egyptian stamps!). Thomas Daniell
ngravers who traveled throughout India in the 1780’s. They made exquisite engravings, which I first saw at an exhibi-
. I placed a little bit of one of their images in the bottom right and superimposed the face of a British army officer over
, historically or geographically “correct” irrespective of the origins of the images.
eas the end result of this piece does have a unity to it. The currency notes adhered to the top have little relevance to
he Egyptian note) but the colors, textures and images compliment the story being told and help add a “universality”
that is not available to all of us – whether it is from county to country, across States or within a career or relationship.
ricted. Sometimes we are afraid to make it. Sometimes it’s just better to keep our mouth shut. In the diamond an inno-
Is binn beal ina thost” – “It’s a sweet mouth that’s closed” or as we better know it , “Silence is golden”.
Gerald Barnes GeraldBarnes.artspan.com
I served in the British Merchant Navy in the 60’s and despite traveling
around the world a couple of times never got to go through the Suez Canal
as at the time it had been closed as a result of the Six Days War in 1967.
The Italian note, (with some added imagery) at the top has nothing to do
with the canal or taking a voyage yet it evokes what might be a ticket to an
exotic destination on a huge liner. It blends in atmosphere with the various
emphera on the left and the blood red Irish stamp mimics a Chinese
imperial chop. The belching black smoke from the ship wafts over the old
letter on the left. At the bottom another Daniell ( see “Entry Restricted”)
engraving seems to indicate a mysterious world existing under the water
of the canal. A simple black and white image of an Asian man using dramatic
hand gestures stares out at the viewer. Let the voyage begin!
Two Shorten a Road.
Any journey is enhanced and short
These two well-dressed women look
as they start off on their journey to
for hundred of years and prior to th
on planes and trains, people happil
time. The middle card says “Is fad
- “It’s a long road that doesn’t have
bert bother” – “Two shorten a road
sayings. I’ve placed a tongue-in-ch
see this sign all over Ireland ahead
halt. Usually you’ll find several me
els not doing much of anything in f
- “Men at work”.
ened with the company of a companion.
like they might have a lot to talk about
gether. Card games have been around
e arrival of texting you would often see
y engaged in playing a game to pass the
a an bothar nach bionn casadh ann”
a bend”. The top card says “Guirraionn
”, both very common and popular Irish
eek comment in the circular frank, You
of road works which brings all traffic to a
n standing around leaning on their shovront
of a sign that says ”Fir ag Obair”
Shore Leave Valletta.
Traditional Japanese architecture has always fascinated me and many times
I’ve stood under massive temple roofs and towering pagodas just in awe at the
interlocking puzzle of timbers that tower overhead and allowed these beautiful
structures to stand through the centuries despite earthquakes, typhoons and
man-made disasters. Another fascination for me is the dreamlike woodblock
ukiyo-e prints of the “floating world”. I thought such an image would be an
ideal contrast to the towering pagoda structure. In the 19th century Britain had
hundreds of military bases all over the world – not unlike us today. Perhaps this
captain was based in Malta (Valletta) or just had his picture taken there as he
passed through to his final destination in India, Singapore or Hong Kong. The
frank says “Tada gan iarracht” – “Nothing without effort” and the Russian and
medieval cards have nothing to do with anything except I liked them.
Thinking Inside of
Madrid-based mixed media artist Alex Mitc
Inspired by the infamous “Exquisite Corpse” drawing game of the Paris Surrealists in
the 1920’s, the “Exquisite Doodle” Artist Project required a group of artists to doodle
in succession on a little paper scroll set inside a small box. A talented group of international
artists signed up to participate, and I took the task of preparing the materials
and documenting each step of the project on a blog. Thus, the doodle-by-mail adventure
From the beginning, I wanted this project to utilize everyday materials, so that anyone
could make their own scroll-in-a-box by following the instructions I’d written on
my blog. The materials used were matchboxes, paper, paper clips and lollipop sticks,
while the tools required included a pencil, ruler, scissors, tape and pliers.
I assembled the boxes, painted the covers, started doodling on each of the scrolls,
and mailed them out. From my studio in Madrid, Spain, the “Exquisite Doodle” boxes
sailed around the world, reaching players in Denmark, England, Australia and the
USA. I had already doodled on half of the scrolls, and the participants were instructed
to add their own doodles before returning the work to me. I documented every step of
the creative journey, from the preparation of boxes and scrolls, to the finished pieces.
A lot of work went into the preparation of the boxes and scrolls for each player, but
receiving each unique scroll made it all worthwhile.
the Box: “The Exquisite
st Project by Sarah Hucal
hell shares her latest collaborative project.
The first returned “Exquisite Doodle” box I received was from Bob Seal in Australia,
who created a jubilant scroll with loving messages (above). Bob’s amazing drawings
make his generous spirit bounce off the paper. Kristine Suhr (Denmark) was all too
happy to make her scroll into a murder mystery (below). In fact, I hear she is still
searching for more clues. The butler is not off the hook yet...
Donna Cusano “Under Irish Sky” Pastel
Paula Joerling’s scroll (Atlanta, Georgia) made me smile and think about how
nothing is more comforting than spending time with good friends, especially
when there’s cooking and dining involved
When I first laid my eyes on Tom Haney’s scroll (Atlanta, Georgia), I nearly saw him
staring back in vibrant colors! He had left his magic touch on every inch of the paper
When I opened John Frame’s scroll (Wrightwood, California) I was struck by the familiar “old
book smell,” As it turns out, John had cut his own paper and inscribed it with intricate drawings
and cryptic writing. It gave me the feeling that I was holding some sort of ancient treasure
in my hands.
Keith Newstead’s scroll (England) gave an endearing lesson in perseverance through his delightful
drawing, while Lisa Kaser (Tigard, Oregon) filled her scroll with little characters that
seemed to float across the paper. I happen to know that Mary Lou Zeek chose a rainy day to
stay inside and work on her scroll; but regardless of the rain outside, it’s clear to see that she
Thinking Inside of the Box: “The
The finished scrolls were meant to be viewed inside their little boxes by using two paper
clip cranks to turn the paper. I felt a video was the best way to show the scrolls being
turned, and thus, it is with a video that my doodle-by-mail adventure came to a close.
Exquisite Doodle” Artist Project by Sarah Hucal
The Video: The “Exquisite Doodle” Artist Project (http://youtu.be/Su56xE-JkjE)
The Blog: Art In Communication (http://artincommunication.blogspot.com)
Alex Mitchell (http://www.alexmitchellportfolio.com)
Mary Lou Zeek (http://www.marylouzeekgallery.com)
Kristine Suhr, the pop-up queen par excellence (http://www.pop-up.dk)
Bob Seal, the wonderful wizard of illustration (http://home.exetel.com.au/bobseal)
Lisa Kaser, a delightful teller of pictorial tales (http://www.lisakaser.com)
John Frame, the visionary film-maker (http://johnframesculpture.com/the-tale)
Paula Joerling, a design and illustration goddess (http://www.paulajoerling.com)
artspan Artist Interview A
Mixed Media Artist
ARTSPAN Artist Spotlight
When did you realize you loved art and wanted to be an artist When I was very young my parents took
me to see a local theater production of The Sound of Music. I remember being immensely impressed by the kids
singing and acting on stage. It was magical. And it’s quite possible I’ve wanted to create my own magic ever
since. I also remember being in fifth grade and having my fourth grade teacher get me out of class to go draw.
That made me feel very special. I helped her create a huge Wizard of Oz drawing for her classroom.
Who has been your mentor, or greatest influence to date I think of the artists that influence me as my
heroes. Being a self-taught artist, I’ve learned about my heroes through books and movies. I’ve learned about
playfulness through Alexander Calder’s wonderful circus, and honesty through Frida Kahlo’s striking self-portraits.
I’ve learned about dedication through Niki de Saint Phalle’s incredible tarot garden, and spirit through
Remedios Varo’s ethereal paintings. I’ve learned about inventiveness through Georges Méliès’ ingenious films,
and authenticity through Charles Chaplin’s artistry. They each had their own vision of why and how to make
art, and this has influenced me greatly.
Who is another living artist you admire and why I admire John Frame who has been working on his film
“The Tale Of The Crippled Boy” for several years. His vision, dedication, and artistry are an inspiration to me.
What is your favorite surface to paint on I end up layering paint and sanding almost every surface I work
on. As wood lends itself beautifully to this technique, it is a favorite of mine.
What are your favorite materials to use I love working with polymer clay, wood, cardboard, paper, felt,
and fabrics. The more of these materials I can incorporate in one project, the better.
Do you have a favorite color palette I am very particular about my colors, and I select a different color
palette for each body of work.
What is your favorite color in your closet Any color in the red, pink, or purple range.
How often do you work on your work I divide my time between studio, portfolio, and promo work. It’s
not enough to make the work. I also have to be organized and promote it. The ideal work week is 25 hours
studio time and 15 hours portfolio/promo time. However, if I’m in the middle of a project, I will spend most of
my hours in the studio. In the same way, once the project is done, I can spend a whole week just updating my
portfolio and doing promo work.
What is the one thing you would like to be remembered for. I’d like to be remembered for being authentic.
For better or for worse, I am committed to making art my way.
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 I love to start projects, so I don’t think I have too much
trouble with fear of failure. I think what I struggle with is called fear of success. This is the fear of how our
lives will inevitably change when we realize our dreams. In order to avoid facing the reality of having success,
I convince myself that my work needs to be perfect. Since it will never be good enough to be perfect, I forever
postpone finishing it. I’ve learned that perfectionism leads to procrastination.
©2007 Alex Mitchell, FOLLOW THE YELLOW BRICK ROAD, “Dorothy” series
Acrylic on wood, mixed media, 34” x 34” x 12”
Photography by Oronoz, Madrid
How do you overcome these obstacles I have to make a long task list in order to finish my projects since I’m always
worried I will forget something. Then I focus on completing just one task at a time. The hardest part is to get myself
going, so I start with an easy task. As soon as I get that done, I feel so good about it that I start on the next task. At that
point I just go into working mode and leave my doubts behind.
What are your inspirations for your work I’m inspired by the mysteries of life. To name just a few, I’d say the mystery
inherent in nature and the universe, the way children draw and play, and concepts about time or destiny.
What is your favorite way to get creative juices flowing If I need to get unstuck, then going for a swim helps me.
My creativity flows better when I’m relaxed. If I’m trying to decide on a new project, I love to look through my “idea
file.” It’s full of notes about project ideas and images of things I like.
Which work of yours is your favorite My new poem picture book is my favorite work so far. It’s taken me over a year
to finish and there have been many challenges along the way. All the pages of the book are reproduced from hand-painted
originals. I’ve put more of my heart into this project than any other, and it has been the scariest for me to finish.
Artist Interview A
Mixed Media Artist
ARTSPAN Artist Spotlight
©2005 Alex Mitchell, WORRY DOLLS BOX, “Misery Loves Company” series
Acrylic on wood, mixed media, 16” X 17” x 8”
Photography by Oronoz, Madrid
Right: ©2008 Alex Mitchell, ELECTROCAT, “El Happy Mundo” series
Acrylic on canvas, mixed media, 57” x 25” x 12”
Photography by Oronoz, Madrid
Up Close and Personal
What book are you reading this week The Neverending Story by Michael Ende.
Do you have a favorite televion show I love watching crime shows.
What is your favorite food I’m mad about avocados, apples, and pistachios.
What color sheets are on your bed right now Sheets with a striped motif in pastel colors.
What are you most proud of in your life I’m most proud of not giving up on my dream to
Who would you love to interview I’d love to interview Remedios Varo.
Do you have a passion or hobby other than painting/sculpting I love to swim and I’m
nuts about watching movies.
Who would you love to do in mixed media I’d love to create a mixed media work inside a
box in homage to Joseph Cornell.
If you were an animal what would you be and why I’d be a dolphin because I think they
If you were stranded on a desert island and could only take three things, what would
they be I’d want a pencil and a sketchbook. And when I run out of pencil and paper, I’d
need an instrument to entertain myself. I’d take my violin so that I could finally devote time
to practicing. Then when they rescue me, they’d find me playing the blues on my fiddle.
Share something with us that few people know about you. I can’t keep chocolate, cookies, or
chips in the cupboard because when I open a bag I end up eating the whole thing.
If you could live anywhere in the world, where would you live My fantasy home would be
near a forest that has a river running through it. And then I’d want enough land around the house to
make a crazy sculpture garden when I get old.
Artist Interview Al
Mixed Media Artist
ARTSPAN Artist Spotlight
©2012 Alex Mitchell, BLUE MOMENT (detail), “On the Divinity of Time” series
Acrylic on polymer clay and mixed media, 10” x 6” x 6”
Photography by Oronoz, Madrid
©2009 Alex Mitchell, VANARP
Acrylic and paper on canvas, 23
Photography by Oronoz, Madr
Y IN MY MIND, “In My Mind” series
” x 20” x 3”
©2010 Alex Mitchell, BRUTUS, “Me-Monsters” series
Acrylic on cardboard and mixed media, 24” x 23” x 20”
Photography by Oronoz, Madrid
Studio Visit with Am
I create emotionally based mixed media art. I seek to find the marriage of colors - to
create transition from one to the other, seamlessly. A memory of distant lands, the scent
of a new place and the iconography of a culture. The transition from hue to hue and tone
to tone, seamlessly, effortlessly moves me continually forward in my work.
I typically use acrylic based mediums and then expand to anything that strikes me. I
have no fear of media or medium and love the feel of a paint brush in my hand and stacks
of wonderful papers around me. I use my hands, my feet....anything that will give me the
texture I am looking for.
Over the years my style has changed a lot and I find myself easily influenced by other
artists. I think as any artist I am still finding my way and have resigned myself to being a
seeker, experimenter, alchemist of art....for today.
Recently I’ve been exploring digital art creation on my iPad using apps such as Art Rage,
Paper 53, NoteLedge, Phonto, Procreate and Noteshelf. While I loose the tactile quality I
love about traditional mixed media work, being able to have all of these tools wherever I
am allows me to produce more work and flush out ideas quickly.
Studio Visit with Amy Steinberg
Studio Visit with Bry
One of the things that fascinates me most is the idea of exploring relationships
through contrasts. Contrasts between man and nature, between line
and form, light and dark, formed and unformed, flatness and a sense of
On the two dimensional surface of a painting, there is no real depth of
course, merely the illusion of it, created by some skillful use of lights and
darks. Contrasted with this illusion is the use of elements that call attention
to the reality of the flat surface, such as line work, paint drips, and other 2D
elements such as text, dots, decorative scroll work, etc. I very much enjoy
the tension created between these two opposing ideas. I go about creating
the sense of illusion or depth in a painting, then go about trying to flatten
it, to call the illusion into question, to call attention to the fact that its a
When beginning new painting, I either start with little more than a surface
that has some collage material built up on it or with a photo I’ve taken. Its
pretty rare that I have any kind of finished painting in mind when I start.
Now and then, this way of working can be problematic, with misdirections,
wrong turns, and bad ideas. However, new ideas can come both from
these mis-steps and in the process of allowing the painting to have a life
of its own, so to speak, and help shape the direction its meant to go. Most
of these ideas would have never happened by my attempt at planning everything
out at the onset. I also build up paintings in layers, usually with
oil paints. Because of the drying time, its simply a practical matter to work
on multiple paintings at one time, typically I’m working on 10+ paintings
in various states at any given time. Working on multiple paintings is also
helpful, as the paintings sort of talk to each other, and at times ideas flow
back and forth between paintings. Something that I’m experimenting on in
a new painting might be the solution for a painting I’ve had on my wall for
a month or more.
For me, there is something magical, even alchemical about the process
of painting, about taking a base, raw material; paint, and transforming it
into something else, something that has beauty, something that can make
a statement or evoke emotions or feelings in a person who sees it. Often
when time I paint, and the form starts to build and take shape, and then
an eye appears and stares back at me, its really a remarkable sensation, as
though I’m bringing something to life.
it was always the intent, oil + mixed media on cradled panel, 18 x 18 inches
Studio Visit with Bryan Holla
after the effort, oil +
mixed media on cradled
panel, 24 x 36 inches
dreamspan, oil + mixed
media on cradled panel,
36 x 24 inches
the disappearing act, oil + mixed media on cradled panel, 24 x 36 inches
running against, oil + mixed media on cradled panel, 24 x 36 inches
Bryan has worked professionally as an artist, a graphic artist, and a college professor. His work has
been in numerous exhibitions, from solo to regional and national juried and invitational exhibitions.
His work has been published in several journals and is part of many collections.
Bryan’s most recent work is a mix of painting, collage, found art, image transfer techniques, and a
variety of other experimentation. His work is influenced by graphic design, vintage art, painting,
photography, mythology and a little bit of science and philosophy.
S U N N Y K A
Y M A R L E R
Larisa Palinsky Lisa doing
Studio Visit with Texas
Artist Nancy Standlee
Nancy Johnson Standlee, a native Texan from Arlington, loves working in a variety
of mediums and taking art workshops and travel. She has lived in California
and Virginia and retired in 2000 from the Keller ISD.
Studio Visit with Texas A
Since her retirement she has taken art workshops in Europe, Mexico and the United States
in watercolor, acrylic, oil, plein air and collage. Her personal work has evolved to acrylic
semi-abstract figurative painting and mixed media paintings with torn paper collage. Nancy
uses found papers, magazine pages and hand painted and stamped papers in the collage
paintings. She has recently added landscape pieces while painting plein air in New Mexico
and California. In January 2012 she traveled to California to take her first oil workshop. Her
focus is on bright colors and impressionist techniques in her paintings seen on her blog and
She is an internationally collected artist and has recently had 3 of her works published in
Painting with Mixed Media, Guhin and Greenman, @2012. Nancy’s paintings can be viewed
and purchased at her online gallery: Daily Paintworks, http://dailypaintworks.com
tist Nancy Standlee
She maintains a website and an active art blog and contributes to several other blogs. Checks
can be ordered with some of her images from Check Advantage http://new.checkadvantage.
com/nancy-standlee-checks. During the past years she has begun keeping personal and travel
journals and enjoys sharing her love of the process with art journal workshops and collage
workshops. She will conduct two workshops this summer at the Dutch Art Gallery in Dallas
in art journaling and in collage. Information is on her website. Nancy paints with a group of
8 artists who paint collaboratively, Canvas by Canvas.
Inspiration comes from a library of art books, viewing other artists’ work, painting with
friends, art workshops, museums, travel, photos – all that she sees and experiences is a potential
for a painting or a journal entry.
Gallery Visit - Theate
Photography by Fred Brown
Two years ago the Sutter Performing Arts Association, which has spent 5
years working to restore a vintage 1950’s movie theater in Yuba City, CA,
considered opening an art gallery in one of our retail storefronts attached
to the theater building to have a visible presence in our downtown shopping
area. A few meetings later and after gathering some interested volunteers,
the concept for The Theater Gallery was created. Ultimately two
artists, a local marketing consultant, the co-chair of SPAA and a past director
from the Yuba Sutter Regional Arts Council with two of her volunteers
came together and worked out the details. In January of 2012 the Gallery
was finished, albeit somewhat rustic, and showed the paintings of a local
young man. We are now preparing for our 17th exhibit, have a good volunteer
base to keep the gallery open and our 2013 calendar is full. Things
are going very well!
The mission statement for SPAA states in part, “to promote performing,
visual and cinematic art” and our Gallery does just that. We showcase
the works of our local artists (originally or currently from the Yuba Sutter
community) and if you can “see the Sutter Buttes from where you live”
we consider you to be from our community! Each month is a new exhibit
with a combination of wall and pedestal art. We host a reception for our
artists each first Thursday of any given month from 430-7pm with food
and wine and most times live music for our attendees. Our sales have been
great for this first year and we continue to grow our reception crowds receiving
many repeat attendees. All our volunteers are very enthusiastic
about our little gallery and look forward to continuing exhibiting some of
Yuba- Sutter’s fine artists.
Gallery Visit - Theater Gall
Yuba City’s Theater Gallery hosted an artist reception in
April for Minerva Gama and Dana Barrow, complete with, music, art,
and wine. Stop by to see the current exhibit at
752 Plumas Street, Yuba City, CA.
As an artistic feeling man I was always fascinated by all ways of capturing
reality and reflection properties. I proceeded with various artistic
techniques and styles gradually at the Secondary school of applied arts
in Kremnica, Slovakia. At the end of this exercise, I found that my
photography is the closest to my way of expression. I have dedicated
to it fully since 1999 when I bought my “first real camera”, a Nikon
EM. Photography is my life and I say, the camera is my brush, through
which I capture the magic and atmosphere of the object.
ht - Miro Trimay
“the camera is my brush, through
which I capture the magic and
atmosphere of the object.”
ht - Miro Trimay
Daily Painters Abstract Gallery
CFAI.co Art Challenge “F
Best of Show - C
Best of Show
Lilacs and Lemons
Carol Smith Myer
lower Power” April 2013
arol Smith Myer
Hollyhocks in Flight
CFAI.co May Art Challenge - “Everyday People” - $100 Cash Prize!
Kit Hevron Mahoney
Open to all 2D visual artists!
Enter now -
Submit your portfolio to join
Contemporary Fine Art International
Lost Maples 16 x 20 Oil
Mixed Media Artists
Southern Artist Spotlight
Jonelle T. McCoy
Southern Artist Spotlight
Filomena De Andrade Booth
ing Color into Your Life
Step by Step
Hall Groat II
Summer Juried Show
$500 in total cash prizes
Open to 2D visual artists worldwide
THE COLORS OF TEXAS
THE ARTISTS OF TEXAS
Coronado Flower Garden Cottage 16X12
Follow the Light Hydrangeas 16 x 20
Artists Retreat a
Art Workshop S
Lodging is available on a first come, first serve basis. There is additional hotels and motels in nearby Marble
Lunches are prepared for you and in the evneings, everyone brings food to share along with a favorite bottle
for over eight generations and is today an active cattle ranch.
Drawing and painting the
figure in mixed media
Also soon to schedule will be the great teaching team of KAREN
VERNON and KEN MUENZENMAYER.
For those of you looking for a great holiday gift idea--other than
a class at the WENMOHS RANCH, En Plein air Pro is offering a
15% off until the end of 2012 on all of their artist easel packages.
t the Bunkhouse
chedule for 2013
Falls. Our aim is to make you happy and see to it that you have your best learning experience ever.
of wine. Life is truly good at Wenmohs Ranch. The Texas Ranch has been in the Wenmoh family
ils, Pastels/ Plein Air
Oils/ Studio/ Plein air 2 days of each
See you at the Bunkhouse!
Art under $200
Patty Ann Sykes
Art under $200
Dutch Art Gallery