Visual Language Magazine Contemporary Fine Art Vol 3 No 6


Featuring Abstract Art, Encaustic Art, Mixed Media Art and more. Cover Artist is Texas Artist Judy Wilder Dalton. Featured are VL Top Artists to Collect are Simon Kenny, Kimberly Conrad, Ines Fugina, Janine Kilty, Melissa Doron, and Suzy Pal Powell: Colors on My Palette Arlene Woo; Visual Language Studio Visit with Corey West Watson and Vanessa Katz: Artspan Discovery Alison Woods; Visual Language Studio Visit with Artspan Artist Birgit Huttemann-Holz; WAOW Women Artists of the West; Barry Scharf on Abstraction; Artspan Spotlight with Nancy Bossert; Art Showdown; VL Photographer Robert LeBlanc. Visual Language Magazine published through Graphics One Design. 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.


Visual Language

contemporary fine art


Rod Seeley

Corey West Watson

Birgit Huttemann-Holz

WAOW San Deigo

Barry Scharf

Alison Woods

Venessa Katz


June 2014 Volume 3 No. 6

Judy Wilder Dalton - VL Magazine | 1


visual language

contemporary fine art

Subscribe Free Today.

June 2014 Vol 3 No 6


2 | VL Magazine -

Judy Wilder Dalton

Finding Art in Life and Life in Art

“I believe there is a strong human response

to color and that it reflects and affects

our moods. My painting begins with

a broad wash of color and rhythms. I establish

a strong design structure and color

harmony. Each layer reveals more forms

and shapes. The use of lines and textures

add intrigue and interest to the surface.

My intention is to keep the elements universal

and invite the viewer to experience

it on an emotional level as well as visually.

Even when I make a choice to use a subject

such as a still life, landscape or figure,

the elements of form, line, color and texture

are my focus. I love the delicacy, vigor

and beauty in them apart from the subject.

My style in expressionist to impressionist,

with bold and vibrant colors.

VL Cover Artist

My mediums include, but are not limited to,

water-media, oil, and pastel.” - VL Magazine | 3

Connie Dines

Artful Exposures One Frame At A Time

Top to Bottom Left: Agave 1, Agave 2, Agave 4 Right: Agave 3

4 | VL Magazine -


Cover Artist Judy Wilder Dalton 3

Bringing Art to Life and Life to Art

Painter’s Keys - Robert Genn 11

VL Artists to Collect - 16

Simon Kenny, Kimblery Conrad, Ines Fugina

Malnar, Janine Kilty, Melissa Doron, Suzy Pal


CFAI Colors on My Palette 44

Arlene Woo

Read the up close and personal interviews from Find

out more about the artist, their inspirations and how they approach

their work.

VL Studio Visit with Corey Watson 70

“It sounds so clichéd to say that I was practically born with a

brush in my hand, but it’s the truth,” says Corey West Watson.

Throughout a childhood spent drawing and painting, Watson

knew she wanted to be an artist. But she had little idea what

such a calling would entail, or how the journey would test her

to her limits.

VL Studio Visit with Rod Seeley 54

The first question I’m asked when someone views my art is

”how did you do that”... Quickly followed by a puzzled look

of disbelief when I attempt to explain the process and show

them the “original” piece of Fractal Art used to create my

unique style of artwork.

VL Artspan Studio Visit with Birgit Huttemann-Holz


It is still frigid outside, a city frozen almost solid. I open the door to my

sanctuary, turn on the light, plug in my electric tools, and turn on the heater.

I connect my IPod, listen a moment to myself, select the music and turn up

the volume. Ready! I step into the U-form of my working space. - VL Magazine | 5

WAOW San Diego 100

It takes the energy of an Olympic gymnast for a woman to reach for

the highest quality attainable in the visual arts, to stretch themselves

to achieve that excellence. Painting, drawing, sculpture—all take time

and perseverance to master. For women, whose workday does not end

when they return home to become the mother, the housekeeper, the

wife, and sometimes nurse, finding time for their art often means walking

that narrow balance beam between ‘creative time’ and ‘family time’.


Barry Scharf 114 Abstraction

This is a question that has at one time or another been on the

mind of every artist that is confronting a blank canvas. Some

know exactly what they will do before they start others start and

find the answer within the moving strokes of color and random

forms that emerge within the action of events. New Works - 120

Do not miss the new works posted every day on

Enjoy the works of Alison Woods.

VL Studio Visit withVanessa Katz 124

Vanessa Katz was born and raised in England and now resides

in Palm Desert, California. At an early age she was always fascinated

with color and began painting as a teenager.

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Artspan Spot Light Nancy Bossert 136

Who has been your mentor, or greatest influence to date

I cannot say one in particular.

Everyone I come in contact with I can learn something from. This

can be from the very young to the oldest. However I had one

graduate instructor who could put what I was seeing into words

and that was Dorothea Builder. Showdown Mixed Media,

Encaustic and Digital Art 152

First Place Arlene Woo

Second Place Donna L Martin

VL Artspan Photographer Robert LeBlanc 164

Each of photography’s many genres presents challenges. Of the

many genres I have engaged, from street photography to metaphoric

art, the most challenging and rewarding has been wildlife.

Directory of Artists and Galleries 182

In alphabetical order you can easy find all featured

artists and advertising artists, along with featured

galleries in our index directory. - VL Magazine | 7

Artist of the Day

Art is not what you see, but what you make others see.” ― Edgar Degas

Sign up today.

Mary Ann Cherry

I was raised in rural Montana near the Yellowstone River and loved it there. My folks were big Charlie

Russell fans – it helped to boost my interest in western art at an early age. Mom gave me a paintbrush

and small oil painting set when I was eight. Dad was always sketching horses, especially buckin’

broncs, rattlesnakes and a lot of other non-girly things for me on newsprint from an old pad of paper.

If you want to be featured as an Artist of the Day, contact Visual Language Magazine.

8 | VL Magazine -

Carol Jo Smidt

“The White Horse” Pastel 16" x 20" - VL Magazine | 9


visual language magazine

Contemporary Fine Art

Visual Language Magazine Staff


Editor -in-Chief Laurie Pace

Executive Editor Lisa Kreymborg

Contributing Editor Lisa Neison-Smith

Consulting Editor Nancy Medina

Feature Contributor Robert Genn Painter’s Keys

CFAI Contributor Kimberly Conrad

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 6

10 | VL Magazine -

The Painter’s Keys

Robert Genn


Robert Genn’s

Studio Book

On Sunday afternoon Sam Bray and his family visited from Perth, Australia. Sam’s a tall, bright-eyed young

man, about 16 years old, who studies fine art, computer science, drama, literature and physics, speaks Japanese,

and plays bass saxophone in his school band.

Among other things, Sam showed me a recent digital video he produced, wrote, scored and animated. The

two-minute piece has won plaudits Down Under and now seems poised to invade Asia.

It was Sam’s first fully digital piece. “The thing didn’t take any time at all.” said Sam, “Less than a day. And

that’s where I’m having my trouble with it. It seems to me that something like this should have taken more

time, more thought--at least a little bit more slaving.”

“Slaving does not a masterpiece make,” I told him, “but it sometimes helps.” It’s a conundrum that exists in all

creative media. Picasso was a thoughtful and careful guy, to the point of spinning out reams of sketches and

“rehearsals.” But he could still finish four decent-sized oils before stepping out into the Rue Maupassant for


The Painter’s Keys - Robert Genn

Every artist who ever lived is familiar with both the slaved-over abomination and the seemingly tossed-off


Digital work undoubtedly has different pitfalls than a plein air landscape, but I’m willing to bet it has similar

antidotes: Planning, improvisation, essaying (trying different ploys), rescaling, understating, flair, style, surrendering

to outrageous technology, the power of boldness, avoiding the obvious, varying a theme, surprising

the eye, repeating a motif, multiplicity, inventing, taking the pause that refreshes, abandoning (temporary and

permanent), beginning, beginning again, beginning again again, getting excited, loving the stuff, etc.

No matter what your disciplines, you need your own personal lists.

Regarding digital, to get an idea of the pitfalls that might be spread out ahead, as well as the unmitigated fun

you’re likely to have, you may need to talk to someone like Sam. Perhaps you have some suggestions for him.

Best regards,


PS: “Boldness has genius power and magic. Engage and the mind grows heated. Begin, and the work will be

completed.” (Johann Wolfgang Von Goethe)

Esoterica: Antidotes--call them preferences if you like--can only be utilized by “the fine art of actually doing.”

Keep doing it and you’ll gradually begin to feel less guilty. Keep doing it and you’ll fall in love. - VL Magazine | 11



Valerie Travers

Working in Acrylic, Oil, Pastel,

Mixed Media Landscapes,

Seascapes, Abstracts, and Florals

“Painting is a reflection of who I am and

what I feel most deeply. Bluebell wood

is one of my favourite subjects and I am

compelled to paint it time and time again.

In my mind it signifies freshness and new


Spring Optimism” - Acrylic on Canvas, 30” x 24”

Terrye Philley

Gulf Coast Artist

On to Distant Shores

Oil 11 x 14 inches

Linda McCoy

Linda McCoy Studio/Gallery

Gallery/Fine Art Instruction

209 S West Street, Mason, Ohio


Ines Fugina

Simon Kenny

Kimberly Conrad

Suzy Pal Powell

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Artists to Watch and Collect

Simon Kenny

Kimberly Conrad

Ines Fugina Malnar

Janine Kilty

Melissa Doron

Suzy Pal Powell

Melissa Davis Doron

Visual Language Magazine Featured Artists

this month delve into the beauty of each

of the six different artists and their unique

approach to creativity.

Simon Kenny is celebrated internationally

for the passion in his abstract paintings.

Kimberly Conrad pours color into your life

with her unique canvas pours. Ines Fugina

Malner felt limited with 2D sketching

and now creates expressive paintings. Janine

Kilty nutures emerging stories on her

canvas. Melissa Doron has stepped out of

her studio and taken on representing other

artists with Davis and Co Fine Art Gallery.

Suzy Powell started with doll clothes and

found the celebration and the vibrancy of life

with her mixed media work and watercolors.

Janine Kilty - VL Magazine | 17

VL Simon Kenny

Abstract Paintings

Simon Kenny is a multi-award winning artist, celebrated nationally and internationally

for his vibrant, expressive paintings. His work is praised as being dramatic, atmospheric

and totally captivating with a style is best described as ‘lyrical abstraction’. Simon’s technique

encompasses brush and palette knife work, subtle under-painting and graduating

alterations in colour. Characterised as a ‘radical Turner’, in recent press coverage he

has attracted significant attention for his growing collection of colour burst oil paintings.

Simon’s fascination with the world around him clearly manifests itself through his work,

yet no piece is ever site specific. His aim is for the viewer to connect personally with each

composition - to be reminded of a place they once knew, or visited by an unexpected

moment of emotion.

Born in 1976 in Dublin, Ireland, Simon discovered his love of art at a young age. Following

his natural artistic instinct he acquired techniques and preferences which he relates

through his work. His personality is a big part of his work, and as he starts on a new

painting he embarks on a personal journey through a host of emotions, all carefully considered

and expressed through both colour and form, offering the viewer a direct visual

connection to his mind set.


Center: Essence

Right: Rise

18 | VL Magazine - - VL Magazine | 19

VL Simon Kenny



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With accolades such as a young master and a radical turner Simon Kenny is an internationally

recognized artist specializing in abstract canvas paintings. - VL Magazine | 21

VL Kimberly Conrad

Abstract Paintings

Art and music are to my soul, as food and water are to my body. I believe that they

are two of God’s most precious gifts to His children. As the author and giver of creativity,

through these gifts, He has given us a portion of Himself. He created the very

first canvas, magnificently painted it, and brought it to life.”

Kimberly is a full time artist, dividing her time between painting and teaching in her

Denver Studio.

The artist considers herself to be an Abstract Expressionist, or more accurately, an

Action Expressionist, as she is most definitely an “action painter”. Her preferred application,

used in her non-representational abstracts, landscapes, seascapes and aspens

is to “pour” her paint, manipulating the flow with water and body movement. She

uses no brushes, other than to tone her canvas before pouring.

Kimberly’s work can be found in private and corporate collections, hospitals, hotels,

resorts, restaurants, and most recently, motion pictures.

Kimberly is the founder of Daily Painters Abstract Gallery, Daily Painters of Colorado,

and co founder and CEO of Contemporary Fine Art International. She is also an internet

art marketing coach and teacher.

Right Page Top:A Beautiful Storm 24 x 36

Right Page Bottom: Sky in Motion 24 x 36

Left Page Below: Dreaming 36 x 48

22 | VL Magazine - - VL Magazine | 23

VL Kimberly Conrad

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In December 2013, Kimberly opened Kimberly Conrad

Contemporary Art Gallery In downtown Denver, in a beautiful

old boarding house built in 1906.

Shortly after opening the gallery, she rented an additional

space just across the hall to use as her studio.

Both spaces overlook the 7th Avenue restaurant district,and

provide beautiful city views. She now paints teaches and

hosts workshops by other artists in the new studio.

Left Page Bottom: Royal Wave 30 x 24

Right Page: Kimberly Conrad and the Gallery - VL Magazine | 25

VL Ines Fugina Malnar

Shades of Gold – Living Art - Intuitive

Abstract Painting of Inner


I love art. I love expression. And I always admired

painters but couldn’t draw anything more that 2D

sketches. So I never tried. But a few years ago

some abstract images started to come out through

me: and all of a sudden I knew exactly which paper

to buy, which color to take and where to put it - it

was the kind of certainty one would like to have with

everything in life.

And I realized I was actually painting. And that the

time I spent doing that was the time I was very close

to myself, to the part of me that is closest to my true

self, that has no masks, disguises, manipulations,

the one that does not need to play games to be real.

Becoming a painter was very much a part of my personal

growth and transformation.

At first I didn’t know what to do with the paintings

- in the process of making them I liked them strongly

but after that they became strangers. But as time

went on, that creative part of me anchored deeper

and I began to feel, love and honor them. I realized

that they are alive, that their vibration contains some

profound universal energy that resonates with ones

soul, spirit and pristine being.

Once a lady came to choose a painting for herself

and finding it she said: “I know this one!” I thought

she had seen it in a shop but she said, “No, I’ve seen

it in my soul”.

Through painting I remember the magic of being human,

the beauty of being divine, the innocence and

playfulness of expressing and creating, the gift of living

art and sharing it.

Sound of Creation

26 | VL Magazine -

White Woman Under Golden Veil She Dances A Couple - VL Magazine | 27

VL Janine Kilty

Emerging Stories

Janine Kilty is a Cape Cod artist who specializes in realistic paintings

in oil. She has trained at the Pennsylvania Academy of The Fine Arts

and in the atelier of master artist Wade Schuman (New York City). Her

work has been exhibited in galleries and public spaces in New England,

Middle Atlantic and western New York, and hangs in private collections

around the world. Mrs. Kilty has shown paintings in national exhibitions

and competitions and has won prizes.

Artist’s Statement:

I work in a realistic style that draws on my atelier studies to create contemporary works that have

been described as evocative and engaging. I am especially inspired by the works of Velasquez,

Sargent, Sorolla and Beaux.

To me, every image is a narrative: not only genre scenes, but still life and portrait, as well. Sometimes

the story is obvious, sometimes it is enigmatic. Often the story that emerges in a painting

surprises me. With portraiture, I strive not only to capture the likeness, but also to find the “story”:

the spark of personality, the force of experience and the promise of things to come. Like a story,

I believe a painting is only completed with the engagement of the viewer.

Right Top: Companions

Left Below: Abbey Road

Center Below: Nocturne

Right Below: Park Street Dream

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“The Timeless Tapestry” by Lesley Humphrey - VL Magazine | 29

VL Melissa Doron

The Spirit of Art

Davis & Company

Contemporary Fine Art

As an artist it’s always been my dream to open a gallery.

With the help of my wonderful brother David as my partner, we’ve done just that. We have chosen

40 of the best artists around the world to display at Davis & Company and are so glad to have

such a magnificent gallery space in which to show them. People keep asking me if my own art is

in the gallery to which my reply is yes. I currently have five pieces exhibited in Davis & Company.

I feel very lucky to have realized my dream at such an early age and to have so many talented

artists to show with Davis & Company.

My journey in life has brought me to this place in my life where I get to experience the joy of painting

and the satisfaction of showing the work and getting to hear the feedback from the public at

the same time. After hosting the Rites of Spring Exhibition for the Artists of Texas, an overwhelming

amount of people are drawn through the gallery and it’s so exciting to be able to discuss art

with serious collectors. Art consumes me; I love my place in the art world and all the artists I get

to work with on a daily basis. I cannot wait to see what each and every day brings for us at Davis

& Company.



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"Art is subjective. Not everyone will like your work but if you love it then everything

else will fall into place." -Melissa Doron

The Peacock Tree - VL Magazine | 31

VL Suzy Pal Powell

The Spirit of the Paint

Before ever starting to school, Suzy Pal was making and creating things—embroidery and doll

clothes. She had always drawn and doodled on everything in the house. Her studio is in Yoakum

County, 4 miles from Plains, TX. She never had any art in school, nor did she go to college.

Having lived in the same house now for 39 years...She grew up all over the West Texas area,

moving every year, with no place to call home, married at 17 and has a wonderful husband and

family of a son and daughter, and 4 grandchildren.

In 1982 in her mid 30’s the desire to paint finally won out, and she started out with oils. After realizing

she was allergic to the oil paint she changed to pastels and pencil. Watercolor had always

been her favorite so she finally started working with them in the 90’s. Favorite subjects vary. She

paints whatever brings excitement to her, especially loving western art, and old vehicles. Nostalgic

type subjects.

She paints mainly with watercolor on traditional watercolor paper, but has started using some of

the different synthetic papers and also branching off with acrylics and gouache as well as torn

paper collages.

The torn paper pieces have done really well, being accepted in shows, and in a North Light art

book. As well as some being licensed.

In January of this year, she decided to try the duo oils, using water for clean up due to the allergy

problems. So far it has been good.

She has been featured in Watercolor Magic Magazine website three times, and Artists Sketchbook

Magazine with some of her sketches. She was also featured in North Light Magazine twice

with her Christmas designs and once with a postcard design. ‘The Artistic Touch 4, 5, and 6’ by

Chris Unwin. ‘Incite, Dreams Realized’ by North Light Art Books. Also, The Colors of Texas, The

Artists of Texas.

Her work was featured on Historical Society of Plains Calendar Cover for 2002, and also the cover

for Lea County Electric annual report. She also painted western and Christmas scenes to be

used as labels for Coffee City USA in Tyler, TX. She has designed the Yoakum County Connection

T-shirt Design for 2002- 2005. A “One Woman Show” at Barnes and Nobles Bookstore in Lubbock,

Texas in December 2003, and then again in July 2004. She had 2 solo shows at Asbury Gallery

in Lubbock in 2005.

Another one woman exhibit at the Clovis Community College 2010 Clovis NM. Also, in many juried

shows. She has signature status with Southwestern Watercolor Society, Wyoming Watercolor

society and Artist of Texas.

32 | VL Magazine -

She signs her paintings Suzy Pal (instead of Susie Powell) and stays busy painting as much

as possible in her studio in her back yard in Plains, TX. She also teaches and is available for

workshops. She can be reached at and her website address is www. Blog address is, and you can see a lot of her work at - VL Magazine | 33


Suzy Pal Powell

Daily Supplies


Paint Horse


34 | VL Magazine -

Wyoming Cowboy

Riding the Circuit - VL Magazine | 35


La Jolla . Santa Fe . San Diego . Denver . Scottsdale . Napa Valey . Walnut Creek . Lagua Beach

Resting Sky 48” x 48” Mixed Media made with Textured Marble Dust Plaster

Visit Stephanie’s Representing Galleries

NEXT SHOW is at Pippin Contemporary on June 20th, 2014

Mirada Fine Art Gallery . Denver, CO. Ph.303-697-9006

Calvin Charles Gallery . Scottsdale, AZ . Ph.480.421.1818

Pippin Contemporary . Santa Fe . Ph.505-795-7476

Contemporary Fine Arts Gallery . La Jolia, CA. Ph.858.551.2010

Christopher Hill Gallery . Napa Valley, CA. Ph. 707.963.0272


Nevermore 18 x 24


Contemporary Realism and Beyond

Visit my Website:

Elaine Vileria

Abstract/Realistic Drawing and Pastels

contemporary drawing

The Last Season Oil on Canvas 22 x 28

Allegorical Painting

Sanda Manuila

Phyllis Mantik deQuevedo

Tulip Pose 6”h X 6”w X14”d

“A Work In Progress”

Florescence 15”h X 10”w X 12”d

Flower Bed 7”h X 23”w X 8”d

M’Lady’s Slipper 10”h X 14”w X 10”d

discover art . inspire collectors


engage discussion . celebrate life

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

Established by David Davis and Melissa Davis Doron, the mission of Davis and Company, Contemporary

Fine Art, is to inspire our collectors and guests with original works of art of the highest possible quality and to

create an upscale, engaging gallery where artists of paramount caliber can exhibit and sell their works of art.

f i n e a r t g a l l e r y Colors On My Palette

Arlene Woo!colors-on-my-palette-interview/cy2z

When did you realize you loved art and wanted to be ‘an artist’

I’ve always liked art, but I did not start painting in earnest until about fourteen years ago. I am a late bloomer.

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

I grew up surrounded by paintings because my grandfather Harry Anthony DeYoung was a professional artist , and

we had his paintings all around the house. I never thought I could be as accomplished as he, but I developed such an

appreciation for art that my mother and grandmother were afraid of how I might critique art exhibitions we attended

when I was young.

Who is your mentor today, or another artist you admire and why

I’m not sure I would call him a Mentor, but George Woollard, a Hawaii artist, has greatly influenced me. He has

nudged me in new directions.

What is your favorite surface to paint on Describe it if you make it yourself.

Fabriano watercolor

What brand of paints do you use

Primarily Daniel Smith

Do you have a favorite color palette

I love New Gamboge, blue greens, and Permanent Brown

What is your favorite color in your closet

If someone looked in my closet, I don’t think they could pick out one favorite color. There are couple of colors that are

definitely missing: green and ochre.

What subject appears the most in your paintings and why

I like to include hidden images in my abstracts. In addition, I like to paint koi, seascapes and animals.

How often do you paint How many hours a week

Once or twice a week! As a result, I often feel like I’m starting all over again.

How would you like to be remembered

I’d like to be remembered as an honest, thoughtful person.

Read more at!colors-on-my-palette-interview/cy2z

44 | VL Magazine -

Flute Player

Read more at!colors-on-my-palette-interview/cy2z - VL Magazine | 45



Pastel Painter - Landscapes Real and Imaginary

Landform Utah




Imagining in paint, photography and wax.

“Bold Gets Soft”, No. 1

“Pastel Grid” No. 1

Collectors Discover New Art Daily.

International Voices - Speaking Through Art

Professional Artists - Join the CFAI Family.

Membership Includes:

• Personal Coaching on Individual Art Marketing Strategies

• Heavy Brand Marketing of Member Artists

• Promotion of Artist’s Work on Multiple Social Media Sites

• Promotion of Artist’s Events and Workshops

• Professional Gallery Page on the Website

• Over 100 Specialty Art Blogs to Choose From

• Monthly Artists Showdowns Free for Members

• Quarterly Juried Competitions at a Discounted Rate

• Eligibility for Inclusion in the Annual Collectors Book

Aspen S P A C E S

Lelija Roy

Roseanne Snyder

Diversity in Texture and Composition

Snowfish 20 x 24

Jonelle T. McCoy

Oklahoma Equine Artist

Your Equine Art Connection

“Heart of the Matter”

"Blooming Everywhere" Acrylic on Gallery Wrap Canvas


Eric Bodtker


Victoria Pendragon


Amber Wilderness


Rod Seeley

Stylized Digital Fractal Art


Studio Visit

Rod Seeley

Stylized Digital Fractal Art

Creating a New Art Form.

The first question I’m asked when someone

views my art is ”how did you do that”... Quickly

followed by a puzzled look of disbelief when

I attempt to explain the process and show them

the “original” piece of Fractal Art used to create

my unique style of artwork.

Although I’ve always had a creative nature and

was an award winning Creative Director of an

ad agency in the 1970’s, I never really considered

myself to be an artist since I couldn’t really

draw all that well and certainly couldn’t paint to

save my life.

In 2010 for fun I decided to experiment with several

different digital paint programs. Well known

(Corel Painter) and a few lesser known but easier

to use programs. My early pieces were a

combination of digital art mixed with digital paint

techniques which I reproduced on canvas (gliclee).

Although they looked great it didn’t really

allow me to be as creative as I wanted to be.

Sometime in 2011 by accident I discovered

Fractal Art. At the time I had no idea what fractal

art even was or how it was created. Here is a

brief description of the background of the art.

“Fractal art is a form of algorithmic art created

by calculating fractal objects and representing

the calculation results as still images, animations,

and media. Fractal art developed from the

mid-1980s onwards. It is a genre of computer

art and digital art which are part of new media

art. The Julia set and Mandlebrot sets can be

considered as icons of fractal art.

Fractal art (especially in the western world)

is not drawn or painted by hand. It is usually

created indirectly with the assistance of fractal-generating

software, iterating through three

phases: setting parameters of appropriate fractal

software; executing the possibly lengthy calculation;

and evaluating the product. In some

cases, other graphics programs are used to further

modify the images produced. This is called

post-processing. Non-fractal imagery may also

be integrated into the artwork.” – from Wikipedia.

There are a number of outstanding Fractal Artists

around but nearly all stop where I start because

in general fractal art is very detailed and

has a distinct computer generated algorithmic

look. I use at least 6 different fractal software

programs to create my “Original” piece of artwork.

All of these programs are a little different

but all work much like a child’s kaleidoscope in

the sense that once you move the image displayed

you can’t go back. Once I finalize the

piece I want to use, my process begins.

The “metamorphosis” begins in Photoshop

which is my base program but I rarely use any

of the filters provided with the program. Instead

I use nearly a dozen plug in programs to create

my work. Unlike most artists I have no idea what

shape the creation will take or what the final

the color combinations will be most of the time.

When the piece “Wow’s” me I stop. In many

cases I will use the same “Original” piece to create

5 or more pieces and it is doubtful that the

average person would know the finished pieces

came from the same piece of art.

56 | VL Magazine -

Believe - VL Magazine | 57


Studio Visit

Rod Seeley

Artistic Layers 1

58 | VL Magazine -

Colorful Spectrums - VL Magazine | 59


Studio Visit

Rod Seeley

Imagine It 4

60 | VL Magazine -

Creative Circles

The key to my creative process is I don’t want the artwork to look computer generated and the pieces must be

bright, vibrant and have Wow appeal.

I reproduce my Limited Edition artwork on “High Gloss” Aluminum in a custom aluminum shadow frame

which gives the artwork an additional visual dimension. I wasn’t aware until I exhibited at Art Expo New

York in 2013 that I had created a new art form.

In the artwork displayed in this article, I have added an “Original Art” insert so it is easier to see the transformation

to the finished art. - VL Magazine | 61

VL Studio Visit

Rod Seeley

Rainbow Spheres

My artwork has been exhibited at many large National & International Art Shows;

Art Expo New York 2013 & 2014, Spectrum New York 2013 & 2014, Spectrum Miami

2013 & 2014. Artwork has also been exhibited at Montreal Art Center and Southern

Nevada Museum of Fine Art, Las Vegas.

In addition, my work has been published in a number Juried Art Publications; International

Contemporary Masters Volume 7 & 8 and others.

62 | VL Magazine -


Over the last several years my artwork has won

many awards both online and at Regional Juried

Shows but it is taking time for Digital Art to

become established as an art form especially by

galleries who frequently feel computer generated

artwork doesn’t match up with other traditional

art forms like oils, watercolor or pastels.

I enjoy creating artwork that is visual and makes

people stop to take closer look. I consider my artwork

to be vibrant “happy art” where the viewer

decides what the subject is and everyone has a different

vision. - VL Magazine | 63


Michal Ashkenasi

Red Memories on the Sand

Red Sun

Abstract Figurative and Minimalistic Paintings

Ten Commandments

don scott MACDONALD

The elegant canvases of nationally–acclaimed artist Don Scott Macdonald are not simple rec

Rather, Mr. Macdonald strives to distill the essence of a scene. Dreamy, simple and powerful

perceived stillness with inherent movement, and expert representation with unearthly abstra

Artist Reception: Friday May 16th, 6-9 pm

Exhibition: May 17 - June 8

All Paintings by Don Scott Macdonald.

(l to r): Sky Crane Creek, 24” x 48”; Boundless, 36” x 48”; Virga Laguna, 36” x 60”

eations of static landscpes.

ly emotive, each painting juxtaposes


5490 Parmalee Gulch Rd.

Indian Hills, CO 80454

(only minutes from Denver)


Terri Holland

“River Rock Cottage & Bluebonnets” Acrylic, 16 x 20

Finding Art in Life and Life in Art

Canyon Ridge


Judy Wilder Dalton

Contemporary Fine Art



Corey West Watson

Searching For Someday

The Layered World Of Corey West Watson

by Dave Justus

70 | VL Magazine - - VL Magazine | 71


Studio Visit

Corey Watson

“It sounds so clichéd to say that I was practically

born with a brush in my hand, but it’s the

truth,” says Corey West Watson. Throughout a

childhood spent drawing and painting, Watson

knew she wanted to be an artist. But she had little

idea what such a calling would entail, or how

the journey would test her to her limits.

“I thought being an artist was little more than

creating pretty pictures to hang on people’s

walls. I had no idea the depth of love I would

experience… along with painful loss, and the

struggle of having to forgive incredible violations.”

Watson’s experiences from the playroom

drawings of her youth to the studio paintings of

today gave her, she now realizes, “the drive to

take my art beyond just ‘pretty,’ and into a place

where I would have to pour out my soul.”

That soul finds its expression on her canvases,

in their abstract washes of color or their

layers of mixed media. The processes she has

developed—the “how” and “why” of her creative

expression—find their genesis in her past, in a

story that Watson never imagined she would be

sharing with the world at large. But as interest

in her artwork grows, so too does interest in the

woman behind the signature, and so she has

drawn back the curtain to offer a glimpse.

“There were many people who influenced

me as a person,” she says, “but none more

than Ben. He became my greatest love, and my

deepest pain.” The two met at a young age and

very quickly fell in love. It felt natural for them

to talk about their “someday”—a life, a family,

a home together. But that home couldn’t stand

in the face of the Other Woman who “roared

through my life like a tornado.” Watson watched

helplessly as her relationship began to crumble.

“She was a young woman without moral boundaries,

who didn’t care that he was not available.

He was a young man full of hormones, fear, and

the belief that it was not possible to find the love

of one’s life at 18.” Devastated, Watson removed

herself from the situation, salvaging what pride

she could and moving out of town, abandoning

her happy “someday” in her wake.

“The emotional overflow I was experiencing

had nowhere to go except onto my canvas,”

she recalls. “It felt natural for me to release it

there, since drawing and painting were part of

who I was anyway.” But even as she took up her

brush, she confronted a daunting realization:

For the work to be real, the emotion that went

into it had to be genuine. “I was a shy person,”

Watson admits. “So while I needed the emotional

release my art gave me, the thought of people

seeing my heart and soul poured out onto a

piece of paper terrified me.”

But her pain was too raw to keep bottled… so

instead, she abstracted it. Within a few years,

her work was practically nonobjective. “I was in

love with creating abstract paintings not only for

the challenge it presented, but I felt like it would

give me a way to hide behind my work while secretly

pouring out my heart.” The more she bled

onto the canvas, though, the more people began

to respond to her art, until she had almost

literally painted herself into a corner. “The more

abstract my work became, the more people

asked questions. The more I had to talk about

my work. And the more I realized that it was the

story behind the art that connected them to my

art, and me to them.”

That story was far from finished. A few years

down the line, Watson felt her heart breaking all

over again when she learned that Ben was getting

married… to the Other Woman. Emotions

she had buried in her work came surging to the

surface, and she realized that the only way to

cope with the news was to let him go, to move

on with her own life. She got married as well,

and though some small part of her still loved

Ben and thought of him daily, she knew it was

improper to dwell on those thoughts. “Marriage

meant I had to keep him where he belonged in

my life, which was in the past. I allowed myself a

brief time to reflect on what he was to me… and

again, I went to my art.”

72 | VL Magazine - - VL Magazine | 73

VL Studio Visit

Corey Watson

Watson wanted to honor what Ben had meant

to her, the enormous influence he had been on

her life and her work, but she wasn’t quite certain

how to do so. Then she remembered that

she had collected an assortment of handmade

papers back in college, for reasons that had

never been entirely clear to her. Their purpose

crystalized in an instant. “I began to tear and cut

the papers,” she says, “and put them into acrylic

paintings along with other material like ink,

pastel, spray paint, and fabric. My thinking was

that the different materials represented all the

life experiences that I had had,” and that their

inclusion in her art was a way to commemorate

the influence not only of Ben, but of many of the

people who had shaped her life’s course.

“One day, and quite by accident, I began to

cover a painting I had been working on that I did

not like. I found that parts of it were nice when

they were allowed to just peek through.” Watson

sat fixated on the painting for a week, considering

what to do with it next. Over that time, it took

on a much larger, more symbolic meaning for

her. She thought about people as a whole, “how

we all start life as a canvas ready to be filled.

That canvas is built on in layer after layer, developing

who we are. Each layer influences the

next, some areas showing through and others

we choose to cover up and make go away.”

Left Above: Begin Again

Right Above: Crown

74 | VL Magazine -

This idea was so meaningful to her that she

began to adopt the mixed media layering process

for all of her paintings, creating colorful

palimpsests that came alive in the present but

offered glimpses of the past. “All the work I do,

even though it is mostly nonobjective, is life

based in the sense that the materials and the

process I developed all came from life stories,”

Watson says of her methods. “I never have a

specific plan when I begin a painting. I rely on

happy accidents, the element of surprise.” Still,

she adheres to her axiom that only genuine

emotion can produce genuine art: “I work toward

the goal of having a good painting that is

true to who I am, and let it happen as it wants

to. I place a layer on the canvas without specific

intention to cover it, and when it’s ready for

another layer, I add it. I keep covering, adding,

and covering layers until the painting has had

enough ‘experiences’ to feel complete.”

Watson had developed her new art style as

a way to help her process and compartmentalize

her feelings for her lost love. “In a way, it

allowed me to move forward, but in another, to

keep him with me in a way that was not a threat

to the life I chose.” But that life was not finished

adding its layers; her experiences were far from


“Eventually,” she explains, “both our marriages

ended in divorce. With broken families and broken

hearts, we found our way back to each other.”

Mixed in with her joy at seeing him again, she

felt herself flooded with additional, unexpected

emotions. To her chagrin, Watson learned that

Ben had married “because he thought he blew it

with me, and nobody he asked was willing to tell

him how to find me.” Hearing that he had loved

and missed her during their many years apart,

she felt a rush of anger: “I was hurt and jealous

that he had chosen to have a life, home, and

family with her. Even though I had also moved

on and had a family of my own, it made me feel

guilty at how upset I was that he had a family

that was not part of me. Part of us.”

But there was a grander layer to be painted

on top of this swirl of emotions. Eventually, Watson

says, “I realized that through it all, God was

answering my prayers the whole time.” Those

answers had not always come easily, but there

was no doubt she had received them. “I asked

the Lord to make me an artist,” she explains,

“not just to make me a good painter. He used

Ben as an instrument in my life to create in me

that which could not have existed without the

intense life experiences I had.”

Face to Face 40 x 80 - VL Magazine | 75

VL Studio Visit

Corey Watson

Her faith has given her a stability when she

thought she might crumble, and she is grateful

for God’s influence on her life and work. “He is

the only one solid and secure enough to take

our pain and carry us through it. He gives us

outlets to release our pain and share our joy.

He has given me life experience to make me

more understanding as a wife, mom, friend, and

daughter, as well as the understanding to use

what I go through as a tool to become a better


At this point in her story, Watson says, “I am

over-the-moon excited that it came around full

circle and that Ben and I are now married. I love

knowing that what we had was real enough to

bring us back together after fifteen years apart.

I am blessed because of the second chance

we’ve been given, and I look forward to what

our future holds.” Though she acknowledges

that the path they walked to reach this point

hasn’t always been pretty, she is certain that,

through its highs and lows, “it has created a

bond between us, and a drive to be successful


Of her husband, Watson muses, “I can honestly

say that he is the one person who gave me the

gift of becoming the artist I am, more than anyone

else in my life. To this day I am not sure he

knows how much he blessed my life.” It’s clear

that the pain of his absence was as much an

influence on her art as the joy of their reunion,

and the love between them that never died.

Thinking back to that youth with the brush in her

hand, Watson is circumspect in her reflections.

“As a child, had I known what I would go through

that would make me the artist I was praying to

be, I would have run as fast as I could the other

way. As an adult, having lived through all I have

and seeing the blessings it brought me in all areas

of my life—not just as an artist—I would live

it all over again.”

It may have taken years, a great deal of pain,

a multitude of layers… but Corey West Watson

finally reached her “someday.” And the experience

has prepared her to make the most of

every day after.

Skinny Dipping 48 x 48

Out of Ashes 48 x 36

76 | VL Magazine -

Embracell 36 x 36

Fragrant 36 x 36 - VL Magazine | 77

VL Studio Visit

Corey Watson

We Belong Together 40 x 30

White Day 24 x 24

Three Trees 24 x 30 Wishes 24 x 18

78 | VL Magazine -

We Belong Together - VL Magazine | 79


Elizabeth Chapman

Contemporary Abstract Artist



Aeon (Touch Down), 16”x16”, encaustic on panel, 2012

VL Artspan Studio Visit Birgit Huttemann-Holz

Spring 2014

Detroit: Inside the Pioneer Building, Studio 303.

It is still frigid outside, a city frozen almost solid.

I open the door to my sanctuary, turn on the

light, plug in my electric tools, and turn on the


I connect my IPod, listen a moment to myself,

select the music and turn up the volume. Ready!

I step into the U-form of my working space. It

surrounds me and allows me to concentrate on

my art, not finding things. On the right are my

paint griddle and electric skillets, my pigments

and waxy brushes.

On my left are oil paints, oil sticks, oil pastels,

and brushes with a blue tape on their handle.

The blue tape reminds me to not dip them in

wax! For now, directly in front of me, is a large

architectural drawing table placed horizontally

position. About 5 meters behind me stands a

large mirror. I only have to turn around to get a

distant glance of my painting so that I can view

and critique my work. One, no, two more things

- I coat my hands with barrier cream and fasten

the apron behind my back. Maybe that is my

daily routine. Every other move is dictated by

my soul, and my dreams. I am talking about my

work - it’s a love affair!

Today, I went downtown before coming to the

studio and bought some cobalt blue oil paint. I

can’t wait to get my hands into that startling deep

blue. Yes, “Mother Nature is my competition!” I

start with clear encaustic layers on my wooden

panel. I torch, scrape away the excess wax with

my razorblades and start anew. After two layers I

add some pigments to my wax. Layer after layer

I build the foundation, then the background, it is

now that I and set the temperament of the painting.

Then I start with the outlines and followed

by shadows. Today, it is black, straight from the

tube, oil, glistening, as thick as my pinky, a bit

of linseed oil, pouring, generous and then brush

work: Bold, playful, but with many exclamation

marks!! It’s a dance that only just begins. I turn

and add wax again, burnt umber on top. And so

it goes back and forth. In between, I fuse everything

with my Iwatani torch, a furious little thing.

I do not use propane. I use butane, a very hot

merciless flame, a flame for the impatient, impetuous

dare devil. Firedrake!

Now, the detail - cobalt blue of course! I push

the oily paint directly on my fingertips - sometimes,

I am wearing gloves, but not today! It is

a sensory overload. I flick the paint, smear, set

accents, wipe , mix, add wax , torch it, burn in,

let it pool, scrape away, cover, reveal.

It is my ‘Fascinosum’. And the best of all Gestural

painting! Movement, storm, impact, sweeping,

bulging, ripping apart, prying open, with a

high arc flying across the plane.

Mighty paintings – ‘Sturm und Drang’ (storm and

stress) - they plea: Be careful! At the same time

they wave you over and whisper: Come join! Be


An abstract landscape. Cross-border breed, lyrical,

upside down. Scratched, incised agitation,

reflection, fly-fishing for urgrunds (primal cause

or ultimate cosmic principle).

Rising water. A falling flower bud will slay you!

Beauty and abyss! Excessive curiosity, spellbound,


Snap shots of nature at its best!

Storm, decay, ambiguity, explosion, flood,

death, devotion, surrender, capitulation.

An org*** mix of decline and resurrection.

Guess Who am I

A painter of moments, holding uncertainty, foreboding,

calling you to rethink:

It could be different. Alas!

A master thief of split seconds. Moments ago.

84 | VL Magazine - - VL Magazine | 85


Artspan Studio Visit Birgit Huttemann-Holz

Series: The Truth Lies Elsewhere

Left Above: Passage Du Temps, 20”x20”, encaustic and oil on panel, 2014

Center: Extinguish Thou my Eyes_ R. M. Rilke, 30”x30”, encaustic and oil on panel, 2014

Right Page: Til my soul takes Flight, 24”x18”, encaustic and oil on panel, 2014

86 | VL Magazine - - VL Magazine | 87

VL Artspan Studio Visit Birgit Huttemann-Holz

Series: The Truth Lies Elsewhere

Renaissance, 20”x20”, encaustic and oil on panel, 2014

88 | VL Magazine -

Through the Thicket past the Blue, 20”x20”, encaustic and oil on panel, 2014 - VL Magazine | 89

VL Artspan Studio Visit Birgit Huttemann-Holz

Series: Aeon

Left Above: Aeon (Re-Turn), 16”x16”, encaustic on panel, 2012

Center: Aeon (Touch Down), 16”x16”, encaustic on panel, 2012

Right Page: Aeon (Passage) 16”x16””, encaustic on panel, 2012

90 | VL Magazine - - VL Magazine | 91

VL Artspan Studio Visit Birgit Hutteman-Holz

Series: Aeon

Left Above: Aeon (Catharsis) 16”x16”, encaustic on panel, 2013

Right Page: Aeon (Once upon a time), 20”x20”,encaustic on panel, 2013

92 | VL Magazine -

I am exploring our desire for a lost Eden. In our

fast changing world the infinite splendor of the

natural process of entropy and decay becomes

a metaphor for the continuum: A fallen world,

but free to overcome form and purpose. It is just

a state of transition, of change, of evolution.

Failure has a dual nature of its own. It is at once

a leap forward and a fall downward, one that

can only be made by free human beings. The

motivation for such a leap is triggered by curiosity

and/or anxiety about the future and about

being a human itself.

The cycle of nature is endless; a work of art is

an expressed glimpse of the eternal.

Wax and powdered dry pigments have been the

consistent medium in my paintings.

I use fire and razorblades to attack and challenge

my paintings. I leap and fail, but where

creativity and failure dance, I approach the truth.

When I succeed I transcend tragedy and see

the genesis of beauty and the ephemeral.

Birgit Huttemann-Holz, 2014 - VL Magazine | 93

Jeanne Hyland

Signature Member WAOW

Sunflower Glow Watercolor 6” x 8”

Fine Art and Instruction

Bringing Life to Art

“Rufus at the Window” 12 x 16 Pastel

Mary Ann Cherry

Master Signature Member WAOW


addren doss

WAOW Signature Member

“Up Ahead and to the Right”, oil, 11X14”

Light filled landscapes and intimate pet portraits in oil and pastel.

Woodland Picnic Pastel

Debbie Hughbanks

Gloria Chadwick

WAOW Associate Member

Artists for Conservation Signature Member

Barbara Ann Jones

WAOW Signature Member

"The Gift of Lilacs" Oil



Women Artists Of the West 2014



100 | VL Magazine


“WAOWed in San Diego”


It takes the energy of an Olympic gymnast

for a woman to reach for the highest quality attainable

in the visual arts, to stretch themselves

to achieve that excellence. Painting, drawing,

sculpture—all take time and perseverance to

master. For women, whose workday does not

end when they return home to become the mother,

the housekeeper, the wife, and sometimes

nurse, finding time for their art often means

walking that narrow balance beam between

‘creative time’ and ‘family time’.

Women Artists of the West (WAOW) has over

260 of these remarkable artistic athletes. They

excel in a variety of genres and mediums. Members

work both in their indoor studios and on location,

en plein air. They paint and sculpt still

life and floral, landscapes and seascapes, figures

and portraits, rural life and cityscapes, old

west or contemporary west, wildlife and domestic

animals, even historical events. Some, such

as long-term Emeritus member, Esther Marie

Versch, paint Native American subjects.

Styles vary as well and include abstract, impressionism,

expressionism, realism, representational

and contemporary. Regardless of genre

or medium, 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. A woman’s place is no longer simply in the

home, but at the easel or the sculpting stand.

They do it all!

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

102 | VL Magazine -

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.

Women Artists of the West as it is today . . .

This non-profit organization has specific objectives

that include uniting women artists and promoting

appreciation of art created by women.

WAOW still encourages technical excellence by

educating artists and the public both through exhibitions

and workshops. But in its decades of

growth, the group experienced many changes.

WAOW no longer consists of only western artists,

living only in the West. New members are

juried into the group every year, and within the

realm of fine art, the application includes no restriction

on genre, subject matter or location.

The membership of WAOW now encompasses

creative women living across and throughout

the country, with members in more than 30

states and even Canada. Some members live

in remote areas, others in suburbia, the fastpaced

city, or remote rural areas. Regardless,

the organization does its best to provide publicity

opportunities and national awareness for all of

these members through advertising and its web

presence.and annual exhibitions.

Cecy Turner “Copeland Falls” Oil

Betty Gates “Spring Water” Oil

Cecy Turner “Untamed Majesty” Oil



Betty Gates “Riverbank Rendezvous” Oil

Kim Shaklee “Thunder”

104 | VL Magazine -

B.J. Billups “Balboa Lilies” Oil

Betty Gates “Poetry” Oil - VL Magazine | 105


Linda Walker “Out on a Log” Oil

Linda Walker “Brahma Mama” Oil

Amy Evans “Last Standing” Oil

Kim Shaklee - Alcatraz

106 | VL Magazine -

WAOW appreciates Visual Language Magazine

for the opportunity to share past history

as well as current information on the large and

exciting upcoming show, an exhibition in California.

“WAOWed in San Diego”

Women Artists of the West 44th National Juried


Women’s Museum of California

2730 Historic Decatur Road, Barracks 16, San

Diego, California

Show dates: May 2 through May 31, 2014

Opening Reception: Friday, May 2 from 5pm to


The public is invited.

The fine artwork of various genres and mediums

in this exhibition has been through a stringent

selection process, and the members who

have already been juried into this prestigious organization

must then be juried into the show as

well. If you cannot attend be sure to visit www. and enjoy their online catalogue once

the show opens.

For further details visit

or one of the following contacts:

Show Chair - Debbie Hughbanks

Assistant Show Chair - Gloria Chadwick

National Publicity Chair - Addren Doss

WAOW is also delighted to introduce our new

Master Signature members, B. R. Gates and

Cecy Turner, and new Emeritus member, Linda


Master Signature member, B.R. Gates (Betty)

from Fort Worth, Texas, has had work exhibited

in such prestigious locations as the House of

Representatives in Washington, D.C., and the

Lincoln Center in New York. She has also exhibited

in the Phippen Museum, the Reagan Library

and Museum, the Gilcrease Museum and was

a “Special Guest of Honor” at the Sun-Yet-Sen

Memorial Hall in Taipei, Taiwan where her painting

hangs in their permanent collection. Betty

was Women Artist of the West’s Best of Show

winner in 2013 at the exhibition in Estes Park,


Cecy Turner, another recent recipient of Master

Signature status, has her studio in Dallas,

Texas. She was chosen by Southwest Art Magazine

as an “Artist to Watch” in 2006. Her work

has been featured in many other national magazines.

Cecy Turner is also a Signature Member

of the National Watercolor Society, Southwestern

Watercolor Society, National Oil and Acrylic

Painters Society, Outdoor Painters Society,

Plein Air Artists Colorado, American Plains Artists,

as well as a Fellow in the American Artists

Professional League.

Linda Walker is WAOW’s new Emeritus member.

Linda, from Bemidji, Minnesota, was The

Gold Medal winner for the 2010 San Dimas

Wildlife Festival, San Dimas, California. She has

also been included in Oil Painters of America

shows. Linda focuses mainly on wildlife and domestic

animals, and strives to “tell a story” with

her paintings.

Again, Women Artists of the West thanks Visual

Language for the opportunity to showcase

their work. While these new Emeritus and Master

Signature members are all painters, their paintings

are very different in subject matter. Where it

counts—in the professionalism of their visibility

as fine artists and in the excellence of their creative

work—as WAOW members do across the

country, these women find a common ground.

Susan Smolensky

Ballerina #10 / Oil On Linen/ 20 x 16

Women Artists of the West 44th National Exhibition

Nancee Jean Busse

Associate Member of WAOW

Red Flowers, Long Light Acrylic, 16x20

Stacey Pollard

"Barns" 24 X 36 Acrylic, Mixed-Media on Board

"Island View" Acryilc Mixed-Media on Board

"Blue" 30 X 40 Acrylic, Mixed-Media on Board

Looking Beyond

"My paintings start with images in landscape. I use many layers of acrylic glazes, and

also add texture with handmade papers or other materials. Grid marks, sketch lines,

and remnants of materials remain embedded in the work, so that some marks from

every layer are in the finished piece. I am interested in changing the representational

image at the beginning into something more abstract.”

Laura Reed

Abstract Collage P

Elements III


Life Experiences

Elements IV



Barry Scharf

114 | VL Magazine - - VL Magazine | 115


Barry Scharf

Abstract art is a proven and respected form

of expression.

As an artist I often feel reality is highly over rated.

Realism often bores me; Super-realism though

technically difficult when done well, often leaves

me feeling flat and unfulfilled. And now there

is so much visually real media I am wondering

what to make of it all.

“I must be getting old. Here I am living in an era

of new technological wonders where every Tom,

Dick and Harry has the tools to capture images.

It is the era of the “Selfie”. Smart phone cameras

everywhere are capturing the realism of everything

in our every day lives. Hay look… here is a

picture of what I had for dinner (posted on Facebook)

and look at where in the world I am now!

(As if just being somewhere in it self was the

accomplishment.) We are filling the world with

images of meaningless moments from every aspect

of human reality and sharing it with anyone

and everyone. I am wondering if any of this reality

sharing has value to the art world A cacophony

of visual imagery with so little meaning… is

the creative artists in danger of loosing our place

to define visual value in a sea of mediocrity Artists,

galleries, museum curators, critics and collectors

have always been the standard to define

quality in the arts. I see no reason to change that

standard now.”

Over my creative life I have found that it is only

through the interpretation of reality that things

begin to get interesting to me. Reality is an inspirational

starting point not a conclusion. Many

call this abstraction. The standard definition of

ABSTRACTION is to use a visual language of

design elements that may exist with a degree

of independence from visual reality in the world.

For example how we see a rose is different for

each of us. To some it is the smell or shape of

the petals; to others it is the color. Some might

sense a prick from a sharp thorn in memory and

still others might look deeper. The closer we get

the less we see of the whole. Other elements

are revealed, we become immersed in discovery

and we find new meaning as we explore.

Where in this process does the realism of the

flower give way to abstraction Is the closer abstraction

still not the rose And is it still not real

As artists we often search for meaning within

the world of our expression. Clearly it resides at

every level of reality from the most obvious to

the unrecognizable abstraction. I can’t speak for

other image-makers but for me it is essential that

my abstract art have meaning. *Right Page Top

Artistic meaning can often be found in the juxtaposition

of forms, in a special relationship of

colors, in the variation of textures. Whatever aspect

of design is used it should be critical to the

meaning of the composition. It is the artist who

approaches the image with an eye of critical finesse,

sensitivity, intellect and skill that makes

it meaningful. These are the hallmarks of good

art and if you add to your work the entire list of

design elements it is possible be epic.

I believe abstraction is the process of awakening

to another reality of perception. Seeing the unseen

and bringing it into consciousness without

needing the ability to understand it all. It is in this

state that the mind can wonder, the heart can

open and the soul can soar. For me this is the

meaning of abstraction within my art.

As an artist skilled in many media, I try to choose

an appropriate creative media form for the content

of my expression. In paint I work from quick

structure sketches and add elements as I go.

Building from simple to complex, general to specific

the image takes form and the content or

message is clarified. In abstraction explanation

is not necessary so the message may be subliminal.

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* What is the first thing you see Is it real or imagined Soon you realize your first impression

was not the reality of the image.

** Abstract 24 Sketch ** Abstract 24 - VL Magazine | 117


Barry Scharf

Inspiration for abstract works can often be hatched

from real events, sights and sounds. I look for the

emotion behind the reality and try to use that to set

the mood, color and action of a painting. “Angry

Ocean” is just such a painting. Strong geometrics

offset the action and lock the motion to the frame.

Colors are muted in a limited pallet of blues and

grays with strong contrasting values. Small amounts

of complementary colors are sparingly added creating

the high energy visual that makes this work

stand out.

To effectively infer depth, I find that the key to successful

Abstract landscapes require a horizon line.

Forms move in directions that obey an invisible perspective.

There is an implied sky and ground relationship

that gives stability to the contents.


City by Day

Angry Ocean

“City by Day” conveys these principles and defines

my approach to separating the ethereal from the solid.

Shapes appear to defy gravity with the use of drop

shadows softly airbrushed to imply a light source.

The implication of obeying the physical laws of light

infers a believable existence with the abstract.

“Night Moon” further demonstrates the horizon line

and the possible variables of implied perspective. A

dark negative space supports the brightness of the

moon oval giving focus to the shape.

In “Seattle Waterfront” the view is converted to an

aerial perspective as we look down on the scene

from above. A large cross defines the overall composition;

lesser objects that one might find exploring

the docks of Seattle complete the details. Expressed

through visual shorthand textures abound interpreting

sounds as brush marks, set in contrasts that mirror

their amplitude. Abstract forms eventually emerge

to define the ferryboat and tug boat present but hidden

in within the overall structure.

Night Moon

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Seattle Waterfront

“Composition on Sound” is an early work loosely

defining an ambulance siren as it raced past the

open window of my loft studio in the city. Sound

as motion in color and brush stroke of thick impasto

paint dominate as it cuts across the painting.

A brilliant red color reflects the implied danger at

hand. Acting as supporting characters in a passion

play the other lesser marks are ambient to

the single cutting large horizontal.

Composition on Sound

“The Pond” clearly an abstract inspired by impressionist

techniques moves from a distant horizon

to the lily pad forms of the foreground. The free

shapes and color of the space in between gives

motion to the forms, as if a breeze is blowing.

The Pond

“Exit” is a painted paper construction that explores

textures, colors and pattern within a three

dimensional construction. The overall structure

is relieved through a window to an open sky with

swans flying by. Clearly the swans are not abstract

in this work so the marriage of concepts acts as a

foil giving the viewer a recognizable place to escape

or “Exit” the work.

As I reflect on the concept of “Abstract Art” in contemporary

society I can safely conclude that there

is room for the new technology and it can be a

supportive tool to the abstract artist. The ability

to quickly capture imagery that inspires creative

juices is a plus to the details we artists add to

our work. Research and reference work has always

been a component of the creative process.

I for one now embrace the possibilities of my cell

phone camera. I just need to ask a 12 year old

how to use it.

Exit - VL Magazine | 119


Alison Woods

Utopia Machine 46 x 48

Fragments (Series) 12 x 12

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The Perfect Place to Find Art

Maelstrom 96 x 132

Big Science Installation

Alison Woods

Laurie Justus Pace

The Painted Pony Gathering One 32 x 48 Oil on Canvas


Vanessa Katz

Freedom of Abstract


Studio Visit

Vanessa Katz

The Freedom of Abstract

Vanessa Katz was born and raised in England

and now resides in Palm Desert, California. At an

early age she was always fascinated with color

and began painting as a teenager. The art she

created in her youth and early career was comprised

of only very detailed representational work.

She resumed painting full time after her daughter

left home for college. Bored with the confines of

realistic work and with a desire to paint freely, she

began to develop an impressionistic style and to

paint from her imagination. Sometimes dreaming

a painting or simply allowing it to evolve organically

(effortlessly) from within.

Confident and energetic brushwork with bold,

bright, rich colors allow the freedom for her to express

thoughts, feelings and life in a vibrant way.

The people who view Vanessa’s paintings have

commented that her work leaves them feeling

happy and uplifted. “I love the fact that my work

can evoke positive emotions. I am honored and

thrilled. What a privilege”.

Currently Vanessa’s work includes a variety

of subjects from abstracts, landscapes, trees and

animals. One of her passions is to support groups

protecting animal rights and has done a series of

animals on cigar boxes benefitting pet charities.

This series was a perfect match as her husband

has a cigar business and always has many empty

cigar boxes. “They make perfect canvases as

they often have such attractive paper borders

which create a natural frame and I like the effect of

allowing the gold foil from the original cigar label

to show through. I then lacquer them to achieve a

very glossy and attractive finish”.

Vanessa chooses to use different mediums such

as ink, crayon, charcoal and gold leaf. Her preference

is mainly using acrylic, her favorite brands

being Golden and Holbein. She also loves to use

Japanese fine art papers, old postcards, symbols,

old ledger books and letters, in fact most anything

interesting she can get her hands on to add to

her mixed media pieces. “It is very engaging and

exciting for me to experiment with all the various

papers and the like. It is important to me that my

work creates an element of intrigue and wonder.

I attend many workshops to learn new and interesting

techniques from other artists. The journey

of discovery is what amazes me. As an artist the

process of learning while experimenting creates

an internal vibration. It is very empowering and

exciting. “

Painting for Vanessa is all about the expression

of fun and her love of life. She paints with a

sense of ease, serenity and excitement. When

she finds herself struggling to “make it happen”,

she realizes it is time to stop for the day. She

listens to music, paints while standing and moves

and dances to get in the “flow and the zone” and

then hopefully a masterpiece is born!

Her studio is in her home, which allows her

more time to paint. She offers her collectors ‘Take

Tea and See’ by appointment. This is a chance

for them to visit her and see her work up close and

personal. She serves tea (she is English after all

and coffee is offered too).

“You cannot begin to convey the texture, energy,

depth and color of a painting in a photo so

I love when collectors can see and feel the work

in person – it is a completely different experience.

Collectors love to see my studio where the work

actually happens. It gives me a chance to describe

the process of creating the work of art and

share a connection with my collectors”.

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Fixation - VL Magazine | 127


Studio Visit

Vanessa Katz

Vision Rouge

Between Dreams

Right Page: Wonder

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Studio Visit

Vanessa Katz

Gallery View

The life of a successful artist includes a great

deal of time networking, marketing and being on

the computer, which Vanessa embraces and enjoys.

She has a website and an active Facebook

page. She has built a large following on Facebook

in which she is constantly sharing her own work

and in addition features other artists and interesting

art related stories. She strives to make it interesting,

inspiring and to allow a glimpse into the

life of an artist.

Vanessa truly shares her love of painting in her

work. She invites you to visit her website:

and / or connect with her on her Facebook Page

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Right Page: Flow - VL Magazine | 131

Kyle Wood

132 | VL Magazine -

"Beyond The Gate II"

18" x 24" Oil on Canvas - VL Magazine | 133

134 | VL Magazine -

Kimberly Conrad

“Pouring Color Into Your Life”

Dreaming 48”x36”x1.5”

Acrylic on Canvas - VL Magazine | 135


Nancy Bossert

ARTSPAN Artist Spotlight

When did you realize you loved art and wanted to be an artist

Cannot remember a day when I wasn’t creating. It definitely goes back to my elementary years.

Who has been your mentor, or greatest influence to date I cannot say one in particular.

Everyone I come in contact with I can learn something from. This can be from the very young to the

oldest. However I had one graduate instructor who could put what I was seeing into words and that

was Dorothea Builder.

Who is another living artist you admire and why Living I have many that are deceased; Lucian

Freud and Antonio Garcia Lopez. They both work tonal hues, craftsman, respectful of form, love

of desolate spaces. They are technically proficient and encourage the viewer to question the scene

from multiple principles.

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


Wow! To choose one, I would have to say 300lb hot press paper. The paper must be archival, acid


What are your favorite materials to use I love gesso because it is a binder and provides a workable

tooth to my paper for many other materials. Adding a slight hue to gesso will provide harmony to

a finished composition. The key is to know your materials so well that mixing media becomes second

nature, and technique can take over.

Do you have a favorite color palette Very tonal. I love browns, yellow ocher, muted greens. However

there is a need to balance these colorations with compliments.

How often do you work on your artwork How many hours a week At least seven hours most


What is the one thing you would like to be remembered for


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 Normal family obligations.

How do you overcome these obstacles Understanding that these moments happen in everyone’s

life, so make the situation positive

What are your inspirations for your work Love working with the human form, light, color, texture.

Which work of yours is your favorite Paintings of my daughter

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Eye’m Wide Awake Acrylic 20 x 16

Where’s Brother Charley - VL Magazine | 137


Nancy Bossert

ARTSPAN Artist Spotlight


Right Page: Holding Onto Hope

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VL Nancy Bossert

ARTSPAN Artist Spotlight

Generational Frequency

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Neighborhood Meeting - VL Magazine | 141


Nancy Bossert

ARTSPAN Artist Spotlight


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Jewelry - VL Magazine | 143

VL Nancy Bossert

ARTSPAN Artist Spotlight

Getting to know you Q&A

What is your favorite color in your closet Brown

What book are you reading this week I am a news junkie

Do you have a favorite television show Currently: Sons of Anarchy and Project runway

What color sheets are on your bed right now Cream

What are you most proud of in your life My marriage and my children

Who would you love to interview Not interview, but to have a conversation with the


Do you have a passion or hobby other than painting What is it I crochet.

Who would you love to paint My husband

If you were an animal what would you be and why Bear, texture, size and movement.

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

would they be So hard. I take Yarn on every trip, because My hands just can’t be idle.

I couldn’t imagine being somewhere without my family, but I wouldn’t want them to be

stranded somewhere just because of my desire…..Crochet hooks, wine. Not really great


Share something with us that few people know about you. I will be married 39 years

this year.

If you could live anywhere in the world, where would you live I love Easton.

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My Voice - VL Magazine | 145

Mary Jo Zorad

contemporary fine art


Kris Miller

Color Composition Creativity

Barbara Van Rooyan Blue Canyon II

Kris Miller Artist Showdown Artist Showdown

March 2014 - Mixed Media, Encaustic, & Digital Art!showdown-winners/cb0j

First Place

Arlene Woo

Flute Player

150 | VL Magazine -!showdown-winners/cb0j

Lion Portrait by Arlene Woo!showdown-winners/cb0j - VL Magazine | 151 Artist Showdown

Second Place

Donna L. Martin

Take Heart

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Third Place

Ezshwan Winding

Receiving!showdown-winners/cb0j - VL Magazine | 153



“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. “

Lary Lemons May Artist Showdown

“Do you have what it takes”

Kimberly Conrad

“Maritime and Seascape Art!artist-showdown/chic

Spring 2014 Juried Competition


Mary Opat

Deadline is May 15th.

$500 in total cash prizes

Plus much more!!juried-shows/c19ne

Be Brave Mixed Media 20 x 30


Photographer Spotlight Artspan

Robert LeBlanc

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Cityscape - VL Magazine | 163

VL Photographer Spotlight Artspan

Robert LeBlanc

“Photography for me creates a profound relationship between sensitivity, observation, and

reality. As a photographer my intentions are to create serene compositions in an effort to

promote contemplation from the viewer.

My work is very personal and I include all my emotions when I am in front of my subject;

however my purpose in creating meaningful photographs is purely driven by passion where I

embrace the process of seeing. Therefore, my desire is to share my passion with the world.

The harmony of varying tones, contrasts, textures and colors that the light presents fascinates

me as I pursue my visual journey. And for me, photographic art is akin to meditation because

to bring a visual notion into reality calls for thoughtful contemplation and sensitivity to the

ambiance of my surroundings.” Robert LeBlanc

Dock of the Bay

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Hot Novel - VL Magazine | 165

VL Photographer Spotlight Artspan

Robert LeBlanc

Nature’s Artwork

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Lone Tree - VL Magazine | 167

VL Photographer Spotlight Artspan

Robert LeBlanc

The Dance

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Beach Comber

Cold Beach - VL Magazine | 169

VL Photographer Spotlight Artspan

Robert LeBlanc

Love it or List it

The Playground

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Three Musketeers

Misty Morning - VL Magazine | 171

Concho River

Alejandro Castanon


Vino Dipinte Art Gallery

602 Orient St San Angelo, TX 76903

Texas Theater

Alejandro Castanon


Texas Artist


of texas

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NO WHERE BUT TEXAS - VL Magazine | 177

Debbie Grayson Lincoln

Texas Contemporary Western Illustrator

Felicia Marshall


Addren Doss 96

Alejandro Castanon 172

Alison Woods 120

Arlene Woo 44

Artists of Texas 176

Barbara Ann Jones 99

Barry Scharf 114

Birgit Huttemann-Holz 82

Carol Brody 47

Corey West Watson 70

Daily Painters Abstract Gallery 148

Davis and Company Art Gallery 42

Debbie Grayson Lincoln 178

Debbie Hughbanks 97

Diane Whitehead 154

Elaine Vileria 38

Elizabeth Chapman 80

Eric Bodtker 52

Felicia Marshall 179

Gloria Chadwick 98

Ines Fugina Malnar 26

Janine Kilty 28

Jeanne Hyland 94

Jonelle T McCoy 51

Judy Wilder Dalton 3, 69

Kimberly Conrad 22,134

Kristine Kainer 174

Kyle Wood 132

Lady L 183

Laura Reed 112

Laurie Justus Pace 122

Lelija Roy 49

Linda McCoy 15

Lisa McKinney 160

Mary Ann Cherry 95

Mary Jo Zorad 146

Melissa Doron 30

Michal Ashkenasi 64

Mirada Fine Art 66

Nancee Jean Busse 109

Nancy Bossert 136

Phyllis Mantik Dequevedo 40

Richard Levine 46

Robert LeBlanc 162

Rod Seeley 54

Roseanne Snyder 50

Sanda Manuila 39

Simon Kenny 18

Stacey Pollard 110

Stephanie Paige 36

Susan Smolensky 108

Suzy Pal Powell 32

Terri Holland 68

Terrye Philley 14

The Art Gallery 156

Valerie Travers 12

Vanessa Katz 124

Victoria Pendragon 53

Vino Dipinte Gallery 173

VL Rees 37

WAOW 100



She began painting at age 3 in the studio of her grandmother, Artist

Laurie Pace. She carries the passion for art and painting. Already

saving for college, she has her work available online:

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