Visual Language Magazine Contemporary Fine Art - Vol 3 No 11

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VL 

Visual Language contemporary fine art 

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ANTHONY A. GONZÁLEZ 

obra-de-gonzalez.com 

VL 

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

November 2014 Volume 3 No. 11

VL 

visual language 

contemporary fine art 

VisualLanguageMagazine.com 

Subscribe Free Today. 

http://visuallanguagemagazine.com/subscribe.html 

November 2014 Vol 3 No 11 

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2 | VL Magazine - VisualLanguageMagazine.com


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. 

obra-de-gonzalez.com 

VisualLanguageMagazine.com - VL Magazine | 3

Michal Ashkenasi 

Abstract Figurative and Minimalistic Paintings 

Portrait of a Girl 100/80 cm 

michalsart.com

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 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. 


content VL 

CFAI.co 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. 


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. 

HallGroat.com 

artistofthedayvl.blogspot.com 

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

VisualLanguageMagazine@gmail.com

Contemporary Abstract Art 

in Acrylics and Mixed Media 

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

Jana Kappeler 

janakappelerstudio.com 

janakappelerstudio@live.com 


VL 

visual language magazine 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

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 

Advertising 

Contact: VisualLanguageMagazine@gmail.com 

Marketing and Development 

Executive Director Business/Management Stacey Hendren 

All Artwork is Copyrighted by the Individual Artists. 

Visual Language Vol 3 No11 

Lisa-McKinney.com 

lisamckinneyfineart.blogspot.com 

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. 


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. 

Sincerely, 

Sara 

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. 

VisualLanguageMagazine.com - VL Magazine | 11


Attitudes and Expressions 

obra-de-gonzalez.com

http://www.obra-de-gonzalez.com/ 

Una Vez Por Todas

Jonelle T. McCoy 

Rhythm and Hooves Series “Opera” 

jonellemccoy.com

www.caroljosmidt.com 

carol@caroljosmidt.com 

“Blue Horse" Pastel 12 x 16

L i s

a M c K i n n e y 

Lisa-McKinney.com 

lisamckinneyfineart.blogspot.com

VL 

Artists to Watch and Collect 


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 

Lisa McKinney 

http://www.lisa-mckinney.com 

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 


Mountain Reflections 


VL 

Lisa McKinney 

http://www.lisa-mckinney.com 

Rocky Beach II 


Stone Castles 

Lonely Coast 


VL Ray Maines 

www.mariemaines.com 

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 

photography. 


Octopus’s Garden (20”x13”) 


VL 

Ray Maines 

www.mariemaines.com 



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www.foundworlds.com 

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 

awareness. 

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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David Blow 

http://www.davidblow.net 

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 


Creation of Autumn 

The End of a Season 48 x 36 Oil 

New Morning 


VL 

David Blow 

http://www.davidblow.net 



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http://claytongardinierphotography.blogspot.com 

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 


Statue of Zeus Florence Italy 


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Houston Abstract Bank of America 



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Live Oak 


Gondola Ride at San Marco Square 


BAUER 

Logan Bauer 

Landscapes,Life drawings,Still life, Figurative Portraits 

LoganBauer.com

LoganBauer.com

Richard Levine 

Pastel Painter Landscape and Figurative 

"Roswell, New Mexico #1" 

www.richardlevine.net 

email: artisanrichard@gmail.com 

Davis & CO Fine Art 

dandcgallery.com

Janet Broussard 

“A Nice Red” 14 x 11” Oil on canvas 

janetbroussard.com

Judy Wilder Dalton 

Contemporary Fine Art 

Finding Life in Art and Art in Life 

“Falls” 

judywilderdalton.com 

wilderartist.blogspot.com

Aspen S P A C E S 

Sunrise Trance 36 x 36 Acrylic with Mixed Meida 

Lelija Roy aspenspaces.com aspen.spaces@gmail.com

Isabelle Gautier 

French Contemporary Flair 

“Avec Le Temps” 65 x 73 Un-stretched 

www.isabellegautieronline.com

Leslie Sealey 

f i n e a r t 

“Lily with Raindrops” 16 x 16 Oil 

The Lily Series 

LeslieSealey.com

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 CFAI.co Member Artists 

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

• Promotion of Artist’s Events and Workshops 

• Professional Gallery Page on the CFAI.co 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 

http://www.cfai.co

Aixa Oliveras 

“Ascension” 60” x 30” Oil on Linen 

aixaoliveras.com

Roseanne Snyder 

“Desert Beauty” 20 x 24 

roseannesnyder.blogspot.com

Vicki Rees 

vlrees.com 

tippingpaintgallery.com

VL 

VL ANTHONY A. GONZALEZ 

Looking My Way 



http://www.obra-de-gonzalez.com/

VL 

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 

did.” 

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. 


56 | VL Magazine - VisualLanguageMagazine.com 

Right Page: La Gitana



VL 


Banana 

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



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

Chocolate Raspberry Tarts 18x24 in. Oil on Canvas by Hall Groat II 



VL Anthony A. González 

A Small Bouquet 

Next Page: And Night Will Fall 



Suspicious 



VL 


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






Expectations 



Curious 

Ann 




“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.” 

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 

asked. 

“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 

together. 

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 



Hasta Cuando Digo 



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. 

dandcgallery.com

engage discussion . celebrate life 

dandcgallery.com 

Anthony A Gonzalez 

at Davis&Co

Bob Coonts 

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

www.bobcoonts.com

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 

at www.escapeillustrations.com

VL 

Artspan Studio Visit 

Brian Croft 

http://www.oberc-habzda.com

Bathhouse on English Bay - 1931 

http://www.oberc-habzda.com

VL 

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”. 

http://www.briancroft.com 


Capitol on Granville - 1956 



VL 


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 





VL 


Wigwam Inn - 1913 

Vancouver Bus Terminal - 1939 



Theatre Row, Granville - 1962 

English Bay - 1916 



“The Sicilian” 

Connie Dines

Artful Exposures 

one frame at a time 

“Woman on the Ferry” 

www.artfulexposures.com

SCOTT MCINTIRE 

E N E R G Y F I E L D P A I N T I N G S 

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

scottmcintire.com 

issuu.com/mcintire

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 

tracymillerfineart.com

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, 

miradafineart.com 

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

Magazine 

A ‘STYLE-MAKER’ 

- Luxe Magazine 

‘STUNNING’ 

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

5490 Parmalee Gulch Rd. 

Indian Hills, CO 80454 

(only minutes from Denver) 

www.miradafineart.com 

303-697-9006 

info@miradafineart.com 

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”

ww. 

www.jonellemccoy.com 

www.fernwooddesignsart.com 

www.harmonyequineart.com 

www.marnikoelln.com 

www.animalarthouse.com 

www.WEBSITE NEEDED.com 

www.animalartandphotography.com 

www.internationalequineartists.com 

www.brookeoconnell.com

www.griffingallery.org 

www.nchristy.com 

www.horseartist.com 

www.equineartist.com 

www.moosepantsstudio.com 

www.allifarkas.com 

www.internationalequineartists.com

Pat Meyer 

“Anticipation” 

www.patmeyer-artist.com

Sanda Manuila 

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

sandamanuila.artspan.com

Mary Jo Zorad 

contemporary fine art

ZoradArt.com

VL 

VL 

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. 

http://barrywscharf.squarespace.com/ 




VL 

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 



Don’t Want to Know by Barry W Scharf 

Amedio Modigliani by Barry W Scharf

VL 

Barry W. Scharf 

Figure 7 by Barry W Scharf 



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" 

elainevileria.artspan.com

Joanna Zeller Quentin 

“Toco Toucan” 

Mixed media on board 

www.MoosePantsStudio.com

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. 

LauriePace.com 

Left: Been There Seasons http://www.ellepace.com/paintings-for-sale/ 

of Life 30 x 40

Kyle Wood 

kwoodfineart.com 


kylewoodfineart.blogspot.com

kwoodfineart.com

Palette 

Knife 

Painters 

Paletteknifepainters.blogspot.com

Paletteknifepainters.blogspot.com

Artist Spotlight 

VL 

VL 

Artist Spotlight Sculptors: 

Deran Wright and Douglas Clark 

http://www.douglasbclark.com/ 



VL 

http://deranwright.com/ 

Artist Spotlight 

Cloud Canyon 

http://dawnwatersbaker.com/ 


Sculptor: 

Deran Wright 

Minotaur 


VL 

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 

restaurants. 

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 

demand. 

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. 


110 | VL Magazine - VisualLanguageMagazine.com

Cat 3/4 


VisualLanguageMagazine.com - VL Magazine | 111

VL 

Studio Visit Deran Wright 

Passages 


Paul Smith 

Right: Laughing Nightwatch Gnome 


To the Lowest Place 



VL 

VL 

Sculptor: 

Douglas Clark 



Western Singer 



VL 

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. 



Texas Speedbump 

Leading the Way- Old Blue 2 



Kimberly Conrad 

“Pouring Color Into Your Life” 

“Winds Grow Strong” 36”x48 

“Winds Grow 

Poured 

Strong” 

Acrylic 

36”x48”x1.5” 

on Canvas 

Poured Acrylic on Canvas 

KimberlyConradFineArt.com 

“Winds Grow Strong” 36”x48”x1.5” 

Poured Acrylic on Canvas

”x1.5” 

KimberlyConradFineArt.com

CFAI.co Artist Showdown 

CFAI.co Artist Showdown 

August 2014 - Figurative Art 

http://www.cfai.co/#!showdown-winners/cb0j 

First Place 

Marie Fox 

Her Muse 

http://mariefox.com 



Second Place 

Bob Shepherd 

That’s That 

http://portraitsbyshep.com 

Third Place 

Mary Opat 

Blanket in Love 

http://maryopat.com 



CFAI.co Juried Show 

CFAI.co Summer 2014 

Abstraction Juried Competition 

First Place 

Filomena de Andrade Booth 

Dusk 

http://filomenabooth.com 

http://www.cfai.co/#!show-winners/cyep 


Filomena de Andrade Booth All That Echoes 






Second Place 

Christina Schneck 

Untitled #1 

http://christinaschneck.com 



Third Place 

Vanessa Katz 

Desert Sand 

http://vanessakatzart.com 






Honorable Mentions 

Denise Bossarte - PM Dec 2013 2-01 


Jane Tracey - Boots on the Ground 

http://www.janetracyartist.com 



Honorable Mentions 

Gabriele Bitter - Handsdown 

www.gabrielebitter.com 

Annie O’ Brien Gonzales - Tulipmania 3 

www.annieobriengonzales.com 



DAILY PAINTERS ABSTRACT GALLERY 

“Thankful” 36”x48”x2.0” Oil on Canvas 

DailyPaintersAbstract.blogspot.com

DailyPaintersAbstract.blogspot.com 

Dawn Reinfeld 

DAILY PAINTERS ABSTRACT GALLERY

DianeWhitehead.com

Diane 

Whitehead 

“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. “ 

DianeWhitehead.com

Lary Lemons 

theartgallerysaintjo.com

theartgallerysaintjo.com

CFAI.co October Artist Showdown 

“Do you have what it takes” 

Filomena de Andrade Booth 

“Abstract Art” 

www.cfai.co/#!artist-showdown/chic

cfai.co 

Fall 2014 Juried Competition 

Nancee Jean Busse 

The World Outdoors 

Landscapes, Waterscapes, Wildlife, and Western 

$500 in total cash prizes 

Plus much more! 

www.cfai.co/#!juried-shows/c19ne

VL 

VL 

Photographer Spotlight 

Roberta McGowan 



VL 

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. 

www.visualwestphotography.com 




VL Photographer Spotlight Roberta McGowan 



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 


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. 



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 


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 

journey." 





Alejandro Castanon 

www.vinodipinte.com 

Vino Dipinte Art Gallery 

602 Orient St San Angelo, TX 76903

Colorem Face Series 

alejandrocastanon.com

KRISTINE KAINER 

www.kristinekainer.com 

www.kristinekainer.blogspot.com

Texas Art 

www.kristinekainer.com 

www.kristinekainer.blogspot.com

Artists of Texas 

artistsoftexas.org

NO WHERE BUT TEXAS 

artistsoftexas.blogspot.com 

dailypaintersoftexas.blogspot.com

Debbie Grayson Lincoln 

Texas Contemporary Western Illustrator 

NoworNever-Debbie.blogspot.com 

DebbieLincoln.com

Felicia Marshall 

FeliciaMarshall.blogspot.com

VL 

Advertisers 

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 50 

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

LADY L 

Colors Make Me Smile 

ladylart.blogspot.com 

ellepace.com/available-work-of-lady-l


visuallanguagemagazine.com

Visual Language Magazine Contemporary Fine Art - Vol 3 No 11

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