Visual Language Magazine Contemporary Fine Art - Vol 3 No 11


Visual Language Magazine Contemporary Fine Art - Vol 3 No 11 Visual Language Magazine featuring Realism, Figurative and Illustrative Art. Cover Artist is Anthony A Gonzalez. Featured are the VL top artists to collect Lisa McKinney, Ray Maines, Denise Bossarte, David Blow and Clayton Gardinier; Visual Language studio visits with Anthony A Gonzalez, Brian Croft, Deran Wright, Doublas B Clark; Barry W. Scharf shares Contemporary Hyperrealism in Art is it real or is it Photoshop; Art Showdown; VL Photographer Roberta McGowen. 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




Features: Anthony A Gonzalez . Brian Croft . Deran Wright . Douglas Clark . Roberta McGowan

November 2014 Volume 3 No. 11


visual language

contemporary fine art

Subscribe Free Today.

November 2014 Vol 3 No 11


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Figurative Painting

The scope of my work is wide and varied, but the female

figure is the focus of the majority of my paintings. Their

expressions and attitudes are what I attempt to capture.

VL Cover Artist

Each woman has unique and subtle methods for displaying

her feelings and thoughts. Through the use of setting,

form, color, posture, and costume I attempt to capture this

attitude and convey it to the viewer. - VL Magazine | 3

Michal Ashkenasi

Abstract Figurative and Minimalistic Paintings

Portrait of a Girl 100/80 cm

content VL

Cover Artist Anthony Gonzalez 2

Delve into figurative painting through

the captivating artwork by Anthony Gonzalez

Painter’s Keys - Sara Genn 11

VL Artists to Collect 18

Lisa McKinney, Ray Maines, Denise Bossarte,

David Blow, Clayton Gardinier

Looking My Way: Capturing the ‘Attitude’ 54

Anthony Gonzalez

“Over these years my work with figures has been

very rewarding. There is so much to explore. I

don’t believe that I will ever exhaust this subject.

Just like the landscape artist and floral painter

never exhaust their subject… I will continue with

mine.” - VL Magazine | 5

VL Artspan Studio Visit Brian Croft 72

Exploring history through the eyes of an artist.

Contemporary Hyperrealism in Art is it

Real or is it Photoshop” 92

Barry Scharf

“I don’t know about others, but when I look at hyper-realistic

portraiture or landscape I often think it looks like a

photo-manipulated image....I long for the images that show

off the talent, passion and emotion of the artists.”

VL Artspan Spotlight Sculptors 106

Deran Wright and Douglas Clark

From figurative to western-inspired themes, two bronze

sculpture artists bring a three-dimensional side of art to life.

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content VL Artist Showdown 120

First Place Marie Fox

Second Place Bob Shepherd

Third Place Mary Opat

VL Artspan Photographer Roberta McGowan 136

From her earliest years with a point and shoot camera to newspaper

photographer to corporate photojournalist to western photographer,

Roberta has carried with her the joy of image making.

Directory of Artists and Galleries 154

In alphabetical order you can easily 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.

Hall Groat II

Painter Hall Groat II, professor and chair of Art and Design at SUNY Broome Community College,

teaches foundation courses in painting, drawing, color theory, and computer graphics. Groat earned

a master of fine arts degree in painting and drawing from City University of New York at Brooklyn, a

bachelor of arts in art history, minoring in studio art at Binghamton University, and attended graduate

and certificate programs at Buffalo State College, Syracuse University, and Savannah College of Art

and Design. He also attended summer sessions at Chautauqua School of Art, Chautauqua, NY, and

Vermont Studio Center in Johnson, Vt.

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

Contemporary Abstract Art

in Acrylics and Mixed Media

“Across the Essence” 24” x 30” Acrylic on Canvas

Jana Kappeler - VL Magazine | 9


visual language magazine

Contemporary Fine Art

Visual Language Magazine Staff


Editor -in-Chief Laurie Pace

Executive Editor Ashley Thompson

Contributing Editor Lisa Neison-Smith

Consulting Editor Nancy Medina

Feature Contributor Sara Genn Painter’s Keys

CFAI Contributor Kimberly Conrad

Feature 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 No11

Changes at VLM

Visual Language has been published close to three full years. Lisa Kreymborg joined the staff several years

ago and has contributed both time and talent bringing her touch to the magazine. She leaves VLM to take up a

new publication with Contemporary Fine Artists International. The staff at Visual Language wishes Lisa all the

best with the new magazine and we look forward to purusing the pages.

Best Wishes from Visual Language Magazine.

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The Painter’s Keys

Robert and Sara Genn

Grey matters

October 3, 2014

Dear Laurie,

Robert Genn’s

Studio Book

I recently met my downstairs neighbour -- a New York jazz-punk original, an arranger of avant-garde film scores, flamenco

producer and composer of chamber music for the electric violin. He also conducts an orchestra of Thai elephants. By day, he’s

a neuroscientist at Columbia University’s Laboratory of Dopamine Neurotransmission. By night, he breaks up Chopin’s piano

scale and has stretched the “Minute Waltz” into half an hour.

Long ago, I sprawled on the floor in front of the secondary easel, strangled by the limitations of the Prismacolor pencil set. I

was five or six years old. “Sophisticate your greys,” said Dad. He leaned over with some primed panels and squeezed out a

palette of acrylic paint.

Grey is the jazz of colour. When done right, grey is a soul-stirring, weep-worthy passage of luminosity and glow -- a vibration-maker.

Virtuosity is achieved by relinquishing black and understanding the Munsell Colour System. You need only invest

in a colour wheel, then begin to break it up and take it apart.

Something unexpected happens with grey. The colour itself seems to understand the power of in-between, like suspended twilight

or ineffable places of attachment. Perhaps the narrative material is less apparent in grey -- her stories curtained or overshone

by louder, simpler truths. In the meantime, grey’s meanings remain fluid. In the language of painting, understanding

grey separates us from the obvious. We are removed from the one-note or cacophony of primaries and moved closer to poetry.

The Painter’s Keys - Sara Genn

In the language of colour, grey is a key to mastery. Start with a light grey imprimatura. Warm or cool, it becomes an early

signature move that determines later choices. Vibrancy is only as effective as the mastering of restraint. “Better grey than garishness,”

said Ingres. So, if you lean toward a high chroma, your new grey ground should keep things classy.

Grey begins with white and miniscule dobs of warm and cool complementaries. At the other end of value, grey is full-strength.

Dioxazine violet and phthalo green mixed in equal parts will give you blacker-than-black. Now play. Scumble cadmium orange

over pale violet. Pour cadmium yellow lemon into a lake of puddling crimson -- the vibrations are hotter than a kitchen

sink full of abutted primaries.

Your deliberate, subtler warms and cools become a place to rest, to stretch time, to dance and dazzle. Once you sophisticate the

in-betweens, your blacks and whites can take their solos and shine.



PS: “There’s a difference between external truth and pictorial truth. It’s often the painter’s job to understand and craft this

difference.” (Robert Genn)

Esoterica: In Mastering Colour, Richard Robinson explains the Munsell Colour System and breaks down the basics of mixing

and achieving tricky middle-values. For grey, the colour wheel is your ally. In Minute Waltz Variations, David Soldier digitally

extracts “microtones” or “notes that Chopin did not write.” The Minute Waltz in Half an Hour becomes a meditation on

something already perfect. Where to go For artists, after a few thousand hours at the palette, the prismacolors in the cerebral

cortex are as good as grey. - VL Magazine | 11


Attitudes and Expressions

Una Vez Por Todas

Jonelle T. McCoy

Rhythm and Hooves Series “Opera”

“Blue Horse" Pastel 12 x 16

L i s

a M c K i n n e y


Artists to Watch and Collect

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Lisa McKinney

Ray Maines

Denise Bossarte

David Blow

Clayton Gardinier

Visual Language Magazine Featured Artists this month

delve into the beauty of each of the five different artists

and their unique approach to creativity.

Lisa McKinney finds her artistic inspiration comes from

nature, as well as quiet days spent in her studio in the

mountains overlooking the rugged, rocky Oregon Coast.

Ray Maines eye tends to see images which are abstract

or which can be abstracted through the digital process.

Denise Bossarte practices photography where a synchronization

of the eye and the mind is cultivated and the

artist is mindful of the present moment without judging,

reflecting or thinking, without overtaking the moment with

their agendas. David Blow’s current work focuses on nature

as a source of inspiration and enlightment. Clayton

Gardinier works predominately as a landscape and nature

photographer but does a little abstract work as well.

Clayton’s preferred medium is black and white; although,

he does some color work when it is appropriate. - VL Magazine | 19


Lisa McKinney

Colorful Obsessions

Lisa McKinney is the daughter of an internationally collected wildlife and

western painter and a renowned biotech director. The mix of the creative

and the logical always felt like a pull of two very conflicted worlds.

As a child, Lisa found the quiet solitude of creating art was a welcome reprieve from a rambunctious house

with three brothers. Lisa’s drawings and paintings were chosen each year to be displayed in the elementary

school art shows at the local opera house. However, art was soon left behind and replaced by college, studying

for a career in social work.

After a very rewarding time working with troubled teens, Lisa realized that the color of creativity was a crucial

part of her soul. Searching for a path that would lead to the perfect blend of right and left brain culminated

in her current full time career as a mixed media artist, photographer, and graphic designer. She finds her

artistic inspiration comes from nature, as well as quiet days spent in her studio in the mountains overlooking

the rugged, rocky Oregon Coast.

Foggy Morning on Mount Tamalpais

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Mountain Reflections - VL Magazine | 21


Lisa McKinney

Rocky Beach II

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Stone Castles

Lonely Coast - VL Magazine | 23

VL Ray Maines

Images are found wherever travel takes him. His eye tends

to see images which are abstract or which can be abstracted

through the digital process. Fragments and details of objects

and areas also attract his attention. He is very aware of light

and trys to utilize it to best enhance the effect on the final image.

His images are produced in the ‘digital darkroom’ where

many of the processes are essentially comparable to those in

the photographic darkroom. The creative freedom of the digital

process allows him to produce images and situations which

would be extremely difficult if not impossible to achieve in film


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Octopus’s Garden (20”x13”) - VL Magazine | 25


Ray Maines

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Denise Bossarte

Finding and Capturing the Unique Beauty of the Ordinary World

My photography is in the Miksang Contemplative Photography style.

Miksang photography is a Shambhala Buddhist Contemplative practice

that focuses on direct perception of the world, without conceptualizations;

it is photography that connects the photographer with non-conceptual


In contemplative photography, a synchronization of the eye and the mind is cultivated where the artist is mindful

of the present moment without judging, reflecting or thinking, without overtaking the moment with their

agendas. When the eye and the mind are harmonized, the photographer is simply observing the moment in

which they find themselves and they can discover and capture the ordinary magic of the phenomenal world.

This magic manifests itself as images of things in our ordinary world that are often overlooked or ignored, but

hold their own unique beauty and expression.

Often with Miksang photography, the photographer will be stopped in their tracks by perceptions that completely

interrupt the flow of mental activity, which freezes them in the moment. The craft is to capture that

moment with the camera so that people viewing the photographs can then have the same experience.

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Denise Bossarte

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David Blow

David Blow is a photographer/printmaker and Professor

Emeritus of Art the University of North Texas. He has

been engaged as a printmaker for forty years, and exhibited

his work in numerous national and international

exhibitions including 2013 “Retrospective” University of

North Texas on the Square Denton, Texas; “Transforming

Culture National Invitational” VAM Gallery, Austin, TX and

“The Next Generation,” Museum of Biblical Arts, NY, NY.

David’s current work focuses on nature as a source of

inspiration and enlightenment.

Winter’s Chapel

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Creation of Autumn

The End of a Season 48 x 36 Oil

New Morning - VL Magazine | 33


David Blow

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Clayton Gardinier

Clayton Gardiner has a doctorate in geology and is an engineer/scientist

working in Houston. After teaching for five years as an Assistant

Professor at Georgia State Auburn Universities and working twenty

years in the diamond industry, he moved to Houston to work for an oil

and gas field-related company.

Photography has been a hobby for Clayton since 2000; he became

serious about image making in 2007. He works predominately as a

landscape and nature photographer but does a little abstract work as

well. Clayton’s preferred medium is black and white; although, he

does some color work when it is appropriate.

He is a member of the NW Houston Photo Club where he is the Program

Chairman as well as the Club’s past President and Competition

Chair. He also is a member of the Houston Photographic Society, Artists

of Texas, Texas Miksang Group and Sheryl Brown Art and Creative

Coaching on Facebook.

Clayton’s images have been exhibited at the Pearl Fincher Museum

of Fine Arts – 2013, Barbara Bush Library – 2013, Houston Public Library

– 2014 and the Davis and Company Gallery – 2014. One of his

images at the Davis exhibit was sold at that exhibition.

Clayton’s images are forever evolving and he is constantly looking for

new venues to expand his expertise.

Pleasure Pier Galveston TX

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Statue of Zeus Florence Italy - VL Magazine | 37


Clayton Gardinier

Houston Abstract Bank of America

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Clayton Gardinier

Live Oak

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Gondola Ride at San Marco Square - VL Magazine | 41


Logan Bauer

Landscapes,Life drawings,Still life, Figurative Portraits

Richard Levine

Pastel Painter Landscape and Figurative

"Roswell, New Mexico #1"


Davis & CO Fine Art

Janet Broussard

“A Nice Red” 14 x 11” Oil on canvas

Judy Wilder Dalton

Contemporary Fine Art

Finding Life in Art and Art in Life


Aspen S P A C E S

Sunrise Trance 36 x 36 Acrylic with Mixed Meida

Lelija Roy

Isabelle Gautier

French Contemporary Flair

“Avec Le Temps” 65 x 73 Un-stretched

Leslie Sealey

f i n e a r t

“Lily with Raindrops” 16 x 16 Oil

The Lily Series

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

Aixa Oliveras

“Ascension” 60” x 30” Oil on Linen

Roseanne Snyder

“Desert Beauty” 20 x 24

Vicki Rees



Looking My Way

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Anthony A. González

Capturing the ‘Attitude’

Eight years old, Anthony A Gonzalez discovered the

journey to be a painter. One of his earliest memories

is the drawing of a windmill. His sister was

quite impressed by the novice artist and as big sisters

do, made quite a fuss over Anthony’s drawing.

With all the attention and compliments, Anthony’s

confidence soared and he knew then he wanted to

be an artist. So early in life, he did not know exactly

what it took to do this, but looking around he

saw comic books coming to life. That must be what

artists do. From that day forward Anthony saved

his money to buy typing paper from the local drug

store. He painstakingly began to copy the comic

book characters, like L’l Abner and such. The support

and encouragement from his sisters made all

the difference in the direction his life would take.

“The Moulin Rouge” hit the screens in 1952, a British

drama film directed by John Huston. José Ferrer

played the artist Toulouse-Lautrec. When Anthony

saw this movie everything changed in his world of

‘artist’. “Because of this movie, from that day forward,

I wanted to draw and paint the figure like he


Throughout his younger years, Anthony visited

many art museums and took in the intense beauty

of other artists painting the figure. To see original

paintings by the masters was an inspiration to his

work. Every visit he made to a museum just stirred

his imagination and desire to paint.

Childhood turned into adulthood and Anthony

joined the United States Air Force. He served for

eight years before returning to San Antonio, Texas

to work as a sign painter. Precious time was lost as

his day job took over his life to provide for his family.

He was able to take art classes at a local community

college during this time keeping his hope of

painting alive through those busy years.

Time passed and life changed. “I quit my day job

and decided to work toward an art career full time.

I took classes at the San Antonio Art Institute and

had some excellent teachers.” Jerry Alexander

taught life drawing. His instruction made all the difference

in the world to me going from the animated

comic drawings to simple figure drawings and under

Alexander’s teaching, Anthony’s skills honed in

to classic figure drawing. From this day forward it

became daily practice.

Following the San Antonio Art Institute days, Anthony

took private watercolor classes from watercolorist

Mary Hetherington. Additional workshops

he attended were from well-known artists that influenced

his approach but his signature style was

self developed. He painted both female figures and

western cowboys in watercolor.

A trip to Madrid, Spain led to figurative oil painting

classes. Anthony fell in love with the deep richness

of oils and the classic approach to European painting.

Returning home he found himself still painting

western scenes and cowboys. He realized he did

not have subjects to paint from or photos to work

from, so he dabbled in other subjects.

Narrowing down his choices, he drifted back to

painting the female figure. He had been painting

women most of his career and that is where he constantly

found discovery and growth. Over the next

six years he had a studio in San Antonio and hired

models to come to the studio to pose for him as

he painted. Anthony found painting from life during

these six years sharpened his skill even more. He

began to see many different expressions and later

realized the ‘attitudes’ that were right there in front

of him to explore. From this discovery he continued

to look for both the expression and attitude in the

figure before him.

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Right Page: La Gitana - VL Magazine | 57


Anthony A. González


Cherry Pie 8x10 in. Oil on Canvas by Hall Groat II

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Split 16x20 in. Oil on Canvas by Hall Groat II

Chocolate Raspberry Tarts 18x24 in. Oil on Canvas by Hall Groat II - VL Magazine | 59

VL Anthony A. González

A Small Bouquet

Next Page: And Night Will Fall

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Suspicious - VL Magazine | 61


Anthony A. González

Strawberry Short cake 8x10 in. Oil on Canvas by Hall Groat II

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VL Anthony A. González


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Ann - VL Magazine | 65

VL Anthony A. González

“Over these years my work with figures has been

very rewarding. There is so much to explore. I

don’t believe that I will ever exhaust this subject.

Just like the landscape artist and floral painter

never exhaust their subject… I will continue with


Nine years ago Anthony built a studio near his

home. It has been a personal space that has

created the perfect atmosphere for him to continue

his painting journey. He spends most days working

in the studio with live models. He has given workshops

at his home studio, in San Antonio, Spain

and in Italy. He enjoys doing demonstrations when


“I enjoy sharing what I know with others. We are

all learning all the time. I also paint still life here in

my studio and go out and paint landscapes when

I can. I am not like most artists that know what to

expect from their paintings. I approach my canvas

with a little nervousness. It helps me stay focused.

When the painting is finished and when it’s a good

one, I feel content and satisfied. It’s a great feeling

to have…and then I know there is room for one

more painting to explore.”

Anthony paints by intuition. Using color, form, and

composition comes naturally to him. Not much

is planned as the model takes their place. Some

lighting adjustments and costume changes create

the mood of the model. From there comes her expression

and pose. As Anthony takes in the complete

setting he has ideas forming in his head of

the direction the painting will go. The expression

on the model’s face is the most important for what

he wants to portray. He gives total credit to the

model for his work because he could not make up

or create those expressions. It is something original

and honest that he captures on the canvas.

Anthony has two sons. The oldest son, A. Andrew

Gonzalez, is an artist. His work is shown internationally.

Andrew developed a totally unique original

approach in his method of painting. He and his

dad have never talked about ‘how to paint or draw’

or even discussed ‘the disciplines of art’, but they

do share the experience of art genres, books,

museum shows and other art functions they attend


What hope began at age eight as a simple windmill

drawing is still alive in Anthony.

“I believe the inspiration is well and alive in me

and will always be. All this is because my wife,

Beverly believes and supports what I do. I cannot

leave out the many wonderful people I’ve met over

the years and all of this because I chose to paint.

These are personal friends, artists, collectors, gallery

owners and those from my foreign travels. I’ve

been very blessed.”

Tender is the Night in Progress

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Hasta Cuando Digo - VL Magazine | 67

discover art . inspire collectors

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

Home is where the art is.

engage discussion . celebrate life

Anthony A Gonzalez

at Davis&Co

Bob Coonts

"Holy Cat", Acrylic on Canvas, 18”x24”

James K. Russell

Futuristic Illustrator

“Dawn Patrol”

Ink, Marker, Acrylic

"Come on board as two Federation patrol craft run the 'slot' on

a sweep through the canyons of an ore-rich asteroid."

Take a trip to some crazy, futuristic & fantastic places



Artspan Studio Visit

Brian Croft

Bathhouse on English Bay - 1931


Artspan Studio Visit Brian Croft

Brian Croft, History Through the Eyes of an Artist.

I was a fighter pilot and, later, an airline pilot. Now 66

years young, I call myself an artist. As I look back on

nearly two decades of painting, I realize that it began

as a Forrest Gump type of moment; one day in September

of 1995, for no particular reason, I decided to

pick up a brush and create my first watercolour and,

when I finished that, I started another, then another, until

today my painting logbook (I was a pilot remember)

records more than 380 paintings. In 2004, I transitioned

from the watercolour medium to acrylic on canvas and

the paintings are now much larger in size and involve

concentrations of detail that astonish even me as I step

back from the canvas.

My first studio was our family laundry room. There, I

found a little space and enough light to do my early

watercolours. With three teenage children, the rest of

the house and all of the bedrooms were spoken for and

so there I sat with my two new friends, the washer and

dryer, and embarked on my journey. This was not ideal!

After painting, I had to pack everything up then, to

resume painting, unpack and set-up again, all of which

took time. Many artists face the same problem: finding

enough space where artwork and tools can be left out

rather than be packed away after each work session.

Eventually, I graduated into a dedicated studio where

I could have all my tools, paint, canvas and research

laid-out in organized chaos. Now, even if I have only a

few minutes of time available, I can drop into my studio

get to work immediately.

Nothing in my artistic journey was planned; at first I

painted a diverse array of subject matter: floral arrangements,

still-life studies, animals, people, and

old buildings. Old buildings, more than anything else,

seemed to tell me a story while I painted. These rather

forlorn and threatened structures also re-ignited a longtime

fascination with architecture that I first discovered

during my high school drafting classes. It pleased me

to be able to paint these buildings, and as I did so, my

mind was free to think about the lives of the pioneers

that built them. By the end of that first year, 1995, I

completed over thirty-five watercolour paintings. My

subject matter was increasingly focused on old buildings

and I found myself creating a visual record of the

heritage and history that I saw around me.

My research and paint process yielded increasingly

detailed works. A good deal of acquired historical information,

usually in the form of notes and supporting

photographs, helped me develop each painting to its

full potential and, over time, this attention to detail became

the most recognizable element of my work. After

a painting was finished I condensed the research

material into short historical summaries; these summaries

were then printed and mounted beside each work

in galleries and served to introduce each work to the

viewer. Today, I write much longer historical summaries

for virtually every work. Happily, it turned out that

my paintings of heritage scenes when combined with

my writing of historical summaries constituted viable

and reflective news articles that resonated particularly

well with newspapers and magazines.

By 2002, having created over 275 watercolour paintings

and publishing a number of limited edition prints,

I began to feel pressure from the galleries that represented;

they asked me to consider a transition of my

work onto canvas.

I evaluated both oil and acrylic for nearly a year before

settling on acrylic. The result was a decision I lament

every day. I loved the properties of oil paint in every respect

save one, the slow drying time. As my work was,

and still is, all about details, acrylic paint, with its immediate

dry-time, became my medium simply because it

supported my tiny detail work without fear of smudging

or disturbing surrounding wet pigment. Even though I

still miss the mental gymnastics of thinking twenty-five

moves ahead, working light-to-dark, to control a watercolour

project and often yearn for the thick-rich blending

properties of oil, I cannot deny that the move to

acrylic on canvas has permitted me to paint more detail

than ever before.

My historical paintings tell stories from our past and I

call this work my “serious side”. A few years ago, as a

diversion, I painted a few 1950’s and 1960’s Vancouver

nightlife paintings and I could not help but notice

a subtle change in people’s reaction to my art. From

those who grew up in that era, there were more smiles

than usual. This reaction expanded my perspective on

history and I began to focus on the neon-blazing era of

Rock and Roll, and the days of my youth and thats how

I discovered the other side of my work, the “fun side”.

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Capitol on Granville - 1956 - VL Magazine | 75


Artspan Studio Visit Brian Croft

On the fun side, the greatest technical challenge

was the accurate depiction of the extraordinary

automobiles from the fifties and

sixties; it takes a great deal of digging to

get all the chrome and trim details right. I

especially loved painting cars that I always

wanted to own but could not afford. Best of

all, I felt like a kid again, re-living my youth

through the process of re-creating it on canvas.

Automobiles aside, there is really no

technical difference between “fun” and “serious”,

but somehow I can feel the smile on

my face a little broader whenever I work on a

“fun side” painting.

I have a tattered sheet of paper in my studio

labeled “Idea List”, a kind of bucket list of

paintings yet-to-be. The list is always growing

as ideas come to mind and I acknowledge,

with some degree of resignation, that

I will never get them all done. It is not simply

for the lack of time that this will happen; it is

because our capacity, as artists, to imagine

possible creations will always exceed our

ability to execute them all. But that is irrelevant;

the important thing is to keep on imagining

and working; that is my journey.

Brian Croft

Stanley Park Junction

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Artspan Studio Visit Brian Croft

Wigwam Inn - 1913

Vancouver Bus Terminal - 1939

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Theatre Row, Granville - 1962

English Bay - 1916 - VL Magazine | 79

“The Sicilian”

Connie Dines

Artful Exposures

one frame at a time

“Woman on the Ferry”



Fear of Fracking | Enamel on Canvas | 48” x 60” | 2013

Tracy Miller

Wildlife and Horses of the West,

Bold and Original!

“The Grizzly Days of Summer” 36x48 Acrylic on Canvas

“The One That Got Away” 24x36 Acrylic on Canvas

Colorado Homes & Lifestyles

BEST ART GALLERY, 2010 & 2012

- 5280

TOP 24 GALLERIES IN THE USA, 2012, 2013 &

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

Svetlana Shalygina, ‘Silhousettes De Versailles’ - Mixed Media on Canvas, 36” x 36”

Bruce Marion, ‘The Adventure Begins’- Original Acrylic on Canvas, 36” x 48”; Alle



- Luxe Magazine


2014 - American Art Awards ‘ART LOVER’S ESCAPE’ - Denver Life

5490 Parmalee Gulch Rd.

Indian Hills, CO 80454

(only minutes from Denver)


32” x 48”; Larisa Aukon, ‘Continental Divide’ - Original Oil on Panel 24” x 36”;

; Dominique Samyn, ‘Sage’- Acryilc & Venetian Plaster on Panel, 40” x 32”;

n Wynn, ‘Joy Ride’ - Mixed Media Sculpture, 26” x 32” x 9”



Pat Meyer


Sanda Manuila

“Le Rêve” Oil on Canvas 40 x 30 Allegorical Painting

Mary Jo Zorad

contemporary fine art



Contemporary Barry W. ScharfHyperrealism in

Going to Extremes. By Barry W. Scharf

Barry W Scharf

Art, is it Real or is it Photoshop

It’s not easy to get out of my comfort space. Often I like

to sit within what I know is familiar. I rest in the knowledge

I have obtained. Practicing what I have learned

works well, I get really good at repeating known skills

and routines. Hurdles are often sidestepped whenever

possible. Now I don’t mean this is the state of affairs

for everyone or even for me to any meaningful depth.

As I am getting older now and my years seem to place

some limits on me I wonder if I have been doing this

a bit to much. I want to create new pathways, change

my thought patterns and make new synapses in my

brain. I think this year will be my year to challenge

myself again. Check of some things from a long bucket

list. I am going on an adventure that will force me

out of that comfort zone and place me squarely on the

edge of my capabilities. I love the idea of travel and

adventure to new places I have not yet seen. Discovering

the beauty of seeing something for the first

time excites me. I know you are wondering where this

might be, but that‘s not the point. It’s more about the

new... not the exotic. Obviously exotic has it’s draw but

it is often remote and beyond most of our resources.

Far away places can be an excuse to do nothing.

But sooner or later we all fall into the trap of the easy

way out. I have been guilty of this from time to time,

as I am sure these words ring true for most. This does

not happen often but when it does it’s depressing, just

getting into a routine and going with the flow becomes

annoying to me, not exerting more energy then needed,

not going the extra mile says I am not involved.

Comfortable makes me uncomfortable!

I am thinking of some places that are far away, but

also many that are close to home but overlooked.

Some of these places I can reach in a weekend, others

I may need longer. Some I can find by driving others

by flying. All will be new all will hold a mystery I am

searching to reveal, some places can be explored by

day and others by night. I am use to being up in the

day so I will also stay up at night. If need be I will watch

the dawn sun unfold the day.

I will document my new discoveries with my artistic expression.

I will learn again what a good composition is.

I will do things differently. Change my creative routine

and use my old skills in new ways.

So it is time to start planning, get out the maps, check

resources and capabilities and get out there, it is all

waiting to be discovered.

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Barry W. Scharf

Contemporary Hyperrealism in Art is it Real or is it Photoshop

By Barry W. Scharf

I don’t know about others but when I look at hyper-realistic

portraiture or landscape I often think it looks

like a photo-manipulated image. I wonder if the image

was copied from a photo or collaged in some

way. I am aware that we are living in the digital age

and it has had a dramatic influence on the contemporary

arts today. This is not to say that digital imagery

should not be part of art but rather that it be used as

only one of the many tools of an artists studio. Digital

imagery allows the artist a quick experimentation to

work out scale, composition, object placement, and

balancing a color pallet without committing paint to

the canvas. This is economical and helps to reduce

time and cut down on mistakes when applying paint.

Maybe it’s me, but I can tell if something is drawn

from sketching with refining or if something is traced

and filled in. In the drawing one sees the evidence of

artistic inflection and personality, the variation of line

and the slight inaccuracies that mark a skilled hand.

Traced images leave me flat it copies everything like

a snapshot that is holds no artistic interpretation. It is

simply a blink of the eye in reality.

I long for the images that show off the talent, passion

and emotion of the artists. Don’t we all love

the images of the impressionists, the translation of

color, movement of shapes and so on Many 20th

century artists understood this and worked hard on

their drawing skills so they could translate their visual

experiences. Modigliani was an inspiration to me

when it came to painting the figure. I loved the extension

he added to the neck in a portrait and the lack of

pupils in the eyes left it to the viewer to imagine what

was going on. Master painter Edward Reep showed

me how to move a brush so it would define an object…

it’s edge and what it was next to.

Blending in at the Exhibtion by Barry W Scharf

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Don’t Want to Know by Barry W Scharf

Amedio Modigliani by Barry W Scharf


Barry W. Scharf

Figure 7 by Barry W Scharf

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I have always wondered if being hyper real is a school of art or just a technical exercise to prove one can

copy something with an accurate eye Painting realistically has always been for me a “visual poetry” filled

with variations from the real world, carefully omitting that which is unnecessary to the subject statement,

shifting values and focus to bring emphasis to the subject focal point. Selecting a limited color pallet to shape

the mood, time and feeling of the content.

Girl at an Exhibition by Barry W Scharf

by Barry W Scharf

Elaine Vileria

"Kenya" 12" x 14"

“Solar Eclipse” 15” x 20”

"Upstream" 13" x 20"

Joanna Zeller Quentin

“Toco Toucan”

Mixed media on board

Laurie Justus Pace

Grazing 18 x 27

The Spirit of the Paint

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

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

with a new journey.

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

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

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

energy to the canvas and ultimately on to the viewer.

Left: Been There Seasons

of Life 30 x 40

Kyle Wood

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Artist Spotlight



Artist Spotlight Sculptors:

Deran Wright and Douglas Clark

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Artist Spotlight

Cloud Canyon

108 | VL Magazine -


Deran Wright

Minotaur - VL Magazine | 109


Studio Visit Deran Wright

An Artistic Life

by Fred Schwartz

Deran Wright drew his first recognizable picture at

age 3 on a building block (a bird). In elementary

school he wrote and illustrated comic books which

he sold to classmates. At age 15 he became a commercial

illustrator, creating artwork for Texas magazines

and newspapers. He has a letter from Stan Lee

telling him to finish growing up before he applies for a

job as an artist at Marvel.

When he was 12, he met a noted western painter/

sculptor, who after viewing the young artist’s ever

present sketch pad, gifted him with a box containing

a wooden sculptors tool and some

‘mysterious substance’.

5 years later, dissatisfied with commercial illustration,

he opened the box and cast his first bronze sculpture

in 1979, when he was just 18.

Deran can be elusive to track down for an interview.

To art shows, gallery openings, unveilings, the usual

haunts for artists, he appears briefly, if at all. He and

his wife, Geneva, are more likely to be found at live

theater performances, history symposiums, or fine


When I caught up with him recently, he was sketching

the complicated knots adorning samurai armor in

an exhibit at the Kimbell Art Museum. Knots, armor,

and Oriental culture are only three of his many and

varied interests.

Back in his atelier, when asked about his training, he

replies, “self-taught”. But then I notice the shelves

behind him groaning under the weight of a massive

collection of books on sculpture. From primitive

Oceania, African, Oriental, Classical, Baroque,

Art Nouveau, Art Deco. Names like Cellini, Bernini,

Gaudens, Rodin, Manship, and Noguchi are on the

book jackets. The sculptor didn’t pursue a degree in

art, because at the time the academic focus was on

abstract and conceptual forms.

Drawn to classic figurative sculpture, Deran embarked

instead on a rigorous combination of self

study and on the job training. As a result, today he

creates sculpture in a traditional style from a thoroughly

modern perspective, and his work is in high


A very reserved and quiet man, the sculptor can

be difficult to draw out. At a recent unveiling, when

handed a microphone, his speech consisted entirely

of, “Thank you very much for coming. I had a lot of

fun making this sculpture.”

But it soon became apparent that each and every

sculpture has an interesting story behind it.

For instance there was the time one of his sculptures

was unveiled by President George Bush in the

Rose Garden at the White House. Oh, and George

W. Bush was the keynote speaker at another of his

unveilings. Or how he became a key witness in an

international copyright dispute between the heirs of

Pierre August Renoir, the French government and

the heirs of Renoir’s personal assistant. After 35

years of sculpting full time, there are a lot of sculptures

and a lot of stories.

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Cat 3/4 - VL Magazine | 111


Studio Visit Deran Wright


Paul Smith

Right: Laughing Nightwatch Gnome

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To the Lowest Place - VL Magazine | 113




Douglas Clark

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Western Singer - VL Magazine | 115


Studio Visit Douglas Clark

Douglas B. Clark is a sculptor and painter working

in bronze and oil paints. He is a native of

Fort Worth and a fourth generation Texan. He

has loved drawing since early childhood, and

was inspired by the paintings of his father as

well as the works of Remington and Russell.

Doug has always had a great interest in the

American West and the scenery and animals of

the region.

Doug prefers to work from life and his own photography

and field sketches. He can often be

found sketching, painting, or sculpting at the Fort

Worth Zoo and at the Fort Worth Stock Yards

National Historic District as well as at annual

events like the National Cutting Horse Association's

Futurity and the Southwestern Exposition

and Livestock Show. His work is also greatly

influenced by his extensive travels across the

western United States and Canada. It is his love

of the West that fuels his creative spirit.

David Dike of David Dike Fine Art said, "Douglas

Clark's bronze sculptures capture the character

of the animals he depicts. Clark's inspiration

is animals in their natural habitat; the animals

exude both a peaceful and powerful spirit. His

bronzes are beautifully crafted and are collected

by both new and seasoned buyers."

His work may be seen in galleries across the

southwestern United States including the Insight

Gallery in Fredericksburg, David Dike Fine Art in

Dallas, the White Buffalo in Glen Rose and the

Acosta Strong Galleries in Santa Fe and Oklahoma

City. His paintings and sculptures are in

public, private, corporate, and university collections.

116 | VL Magazine -

Texas Speedbump

Leading the Way- Old Blue 2 - VL Magazine | 117

Kimberly Conrad

“Pouring Color Into Your Life”

“Winds Grow Strong” 36”x48

“Winds Grow





on Canvas

Poured Acrylic on Canvas

“Winds Grow Strong” 36”x48”x1.5”

Poured Acrylic on Canvas

”x1.5” Artist Showdown Artist Showdown

August 2014 - Figurative Art!showdown-winners/cb0j

First Place

Marie Fox

Her Muse

120 | VL Magazine -!showdown-winners/cb0j

Second Place

Bob Shepherd

That’s That

Third Place

Mary Opat

Blanket in Love!showdown-winners/cb0j - VL Magazine | 121 Juried Show Summer 2014

Abstraction Juried Competition

First Place

Filomena de Andrade Booth


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Filomena de Andrade Booth All That Echoes!show-winners/cyep - VL Magazine | 123 Juried Show Summer 2014

Abstraction Juried Competition

Second Place

Christina Schneck

Untitled #1!show-winners/cyep

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Third Place

Vanessa Katz

Desert Sand!show-winners/cyep - VL Magazine | 125 Juried Show Summer 2014

Abstraction Juried Competition

Honorable Mentions

Denise Bossarte - PM Dec 2013 2-01

Jane Tracey - Boots on the Ground!show-winners/cyep

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Honorable Mentions

Gabriele Bitter - Handsdown

Annie O’ Brien Gonzales - Tulipmania 3!show-winners/cyep - VL Magazine | 127


“Thankful” 36”x48”x2.0” Oil on Canvas

Dawn Reinfeld




“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 October Artist Showdown

“Do you have what it takes”

Filomena de Andrade Booth

“Abstract Art!artist-showdown/chic

Fall 2014 Juried Competition

Nancee Jean Busse

The World Outdoors

Landscapes, Waterscapes, Wildlife, and Western

$500 in total cash prizes

Plus much more!!juried-shows/c19ne



Photographer Spotlight

Roberta McGowan

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Photographer Spotlight Roberta McGowan

From her earliest years with a point and shoot camera to newspaper

photographer to corporate photojournalist to western photographer, Roberta

has carried with her the joy of image making.

She is a horsewoman as well as a documentary photographer who combines

both passions to create Visual West Photography with her dynamic style.

Roberta is an award-winning photographer. She has been honored by the New

Jersey Press Association, the New York Institute of Photography, and was

named “Photographer of the Year” by the Philadelphia Chapter of Women in

Communications. Photojournalism has always been the core of her communication

about the Western way of life, the grit of the world of horses, cowgirls,

and cowboys.

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VL Photographer Spotlight Roberta McGowan

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When Roberta moved to Colorado from the

East Coast 16 years ago, she explains that

she felt as if her soul was home. The grand

vistas, the “Howdy” life style, the natural world

in its entire splendor continue to enthrall her.

She is a member of Cowboy Photographers

and Artists International, Association of Professional

Rodeo Photographers, Colorado

Pro Rodeo Association, Equine Photographers

Network, and the Roaring Fork Valley

Horse Council.

Roberta’s education includes Temple University,

New York Institute of Photography,

Douglis Workshops, Equine Photographers

Network Seminars and Workshops, the Philadelphia

School of Marketing and Public Relations,

Moab Photography Symposium, Carolyn

Guild Private Training, and Dan Ballard

Workshops. - VL Magazine | 141


Photographer Spotlight Roberta McGowan

New and Ongoing Projects include: “Branding; Their Way of Life,” a photo essay, and “The

Pour House, a Colorado Saloon,” a photographic history book.

Roberta and her husband Michael have lived in Missouri Heights/Carbondale on the Western

Slope of Colorado since 1998.

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She has recently exhibited at:

*Redstone Arts Foundation, Redstone CO - group exhibits - Annual Event Labor Day Weekend

*The Red Brick Arts Foundation Wild West Exhibit (scheduled for May 2015)

*Roaring Fork Open, Aspen Art Museum, Aspen CO *Western States Horse Expo and Art Show,

Sacramento CA, *Cowgirls with a Camera, Wickenburg AZ - 9 photographers, March 2013

*Redstone Arts Foundation, Redstone CO *River Valley Ranch Gallery, Carbondale CO *Vectra

Bank, El Jebel CO *Gallery 809, Glenwood Springs CO *Glenwood Springs Center for the Arts,

Glenwood Springs CO *Vectra Bank, Aspen *Guerilla Gallery, Aspen *Aspen Colors, Basalt CO *

Zele’s Gallery, Aspen CO *Aspen Chapel Gallery, Aspen CO *Bella Mia Gallery, El Jebel, CO *Carbondale

Fine Arts, Carbondale CO. - VL Magazine | 143


Photographer Spotlight Roberta McGowan

Roberta explains her approach to visual language:

"It's not about the camera or the technology; it's about the

fragile whispers of life. Those images that are here and then

gone in an instant; the eye that sees them; the visions of the

artist; the stories to be told: this is Photography.

The images I create are dynamic and thought provoking.

Strong colors and tones reflect the tough and gritty lives of

the horses, cowgirls, cowgirls and the West where they live

and work. My photographs are made from the perspective of

the subjects.

The juxtaposition of moment and movement is what intrigues

me most about photography. As a photographer I work to

"capture a moment," but at the same time use creativity to

"portray movement" within the image.

Viewers are an integral part of the artistic process; hopefully

connecting with the subject’s emotions, and the subjects in

turn appears to be responding to the viewers’ reactions.

With a photojournalist eye, my style is powerful yet subtle. I

work to savor mystical connections from humans and animals

within this special world. I, too, live in the West that

still exists in the high deserts and sweeping grandeur of the

Rocky Mountains. Thank you for joining me on this visual


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Alejandro Castanon

Vino Dipinte Art Gallery

602 Orient St San Angelo, TX 76903

Colorem Face Series


Texas Art

Artists of Texas


Debbie Grayson Lincoln

Texas Contemporary Western Illustrator

Felicia Marshall



Aixa Oliveras 51

Alejandro Castanon 146-147

Annie O’Brien Gonzales 127

Anthony Gonzoles 2-3, 12-13, 54-67, 69,

Art Gallery 132-133

Artists of Texas 150-151

Barry W. Scharf 92-97

Bob Coonts 70

Bob Shepherd 121

Brian Croft 72-79

Carol Jo Smidt 15


CFAI Juried Show 122-127

CFAI Showdown 120-121

CFAI Showdown 134-135

Christina Schneck 124

Clayton Gardinier 19, 36-41

Connie Dines 80-81

Daily Painters Abstract Gallery 128-129

David Blow 19, 32-35

Davis & Co 68-69

Debbie Grayson Lincoln 152

Denise Bossarte 19, 28-31, 126

Deran Wright 106-113

Diane Whitehead 130-131

Douglas Clark 106, 114-117

Elaine Vileria 98

Felicia Marshall 153

Filomena de Andrade Booth 122-123, 134

Gabriele Bitter 127

Hall Groat II 6

International Equine Artists 86-87

Isabelle Gautier 48

James K. Russell 71

Jana Kappeler 9

Janet Broussard 45

Joanna Zeller Quentin 99

Jonelle T. McCoy 14

Judy Wilder Dalton 46

Kimberly Conrad 118-119

Kristine Kainer 148-149

Kyle Wood 102-103

Lady L 155

Laurie Justus Pace 100-101

Lelija Roy 47

Leslie Sealey 49

Lisa McKinney 16-17, 19-23

Logan Bauer 42-43

Marie Fox 120

Mary Jo Zorad 90-91

Mary Opat 121

Michal Ashkenasi 4

Mirada Fine Art 84-85

Nancee Jean Busse 135

Palette Knife Painters 104-105

Pat Meyer 88

Ray Maines 19, 24-27

Richard Levine 44

Roberta McGowan 136-145

Roseanne Snyder 52

Sanda Manuila 89

Sara Genn 11

Scott McIntire 82

Tracy Miller 83

Vanessa Katz 125

Vicki Rees 53

Vino Dipinte Gallery 146-147


Colors Make Me Smile

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