Visual Language Magazine Contemporary Fine Art Vol 3 No 12 December 2014

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VL 

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Visual Language contemporary fine art 

VL 

December 2014 Volume 3 No. 12 

Features: Rainer Andreesen - Angela Hardy - R Lewis - David Kalbach - Vincent Wray 

Rainer Andreesen 

rainerart.com

VL 

visual language 

contemporary fine art 

VisualLanguageMagazine.com 

Subscribe Free Today. 

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December 2014 Vol 3 No 12 

©GraphicsOneDesign1998-2014

RAINER ANDREESEN 

Portrait Painting 

Art was my salvation. I felt truly at home in my heart 

while drawing or painting. I had no idea of where it 

would lead me, yet somehow I knew that it was my 

ticket to see the world beyond the small island on 

which I grew up on. 

VL Cover Artist 

rainerart.com 

VisualLanguageMagazine.com - VL Magazine | 3

JANET BROUSSARD 

“Tin Snowman” 7 x 5” Oil 

“You Said You Wanted a Car” 7 x 5” Oil 

“Santa on a Trout Ornament” 7 x 5” Oil 

janetbroussard.com

content VL 

Cover Artist Rainer Andreesen 3 

“Art was my salvation. I felt truly at home in my heart while 

drawing or painting. I had no idea of where it would lead me, 

yet somehow I knew that it was my ticket to see the world 

beyond the small island on which I grew up on.” 

Painter’s Keys - Sara Genn 11 

Any Colour You Like: Rainer Andreesen 34 

“The Haunting, and the Happiness, of Rainer 

Andreesen” - As Told to Dave Justus 

Studio Visit with Angela Hardy 64 

“Artist, Painter, Storyteller” 

“So the painting process is somewhat a story 

process, a therapy process, a healing process 

and in part an architect process for each person 

involved, including myself.” 


VL 

Artspan Studio Visit Richard Lewis 80 

“Now when I am driving I often find myself looking at reflections 

in the cars around me. I find it interesting to watch the reflections 

change as the cars go down the road. A partly cloudy day can make 

almost any car look beautiful to me.” 

“Holiday Greetings: From the Heart of Texas” 100 

The Artists of Texas invite you to step into the warmth of 

the holiday season by celebrating the joy and happiness 

that this time of the year brings. 

“The Artist and the Art of Spiritual Practice” 124 

By: Barry W. Scharf 

“I often paint with some abandonment of 

intellect, detached and trusting to that greater 

self that guides the brush.” 

6 | VL Magazine - VisualLanguageMagazine.com

content VL 

Artist Interview with David Kalbach 130 

When did you realize you loved art and 

wanted to be an artist 

When I was a child I loved to draw pictures of 

airplanes, cars, boats and people. My father, 

while not a practicing artist, was very proficient 

with artistic skills as was my grandfather. They 

set an example or had a skill level which I desired 

to emulate. 

Vincent J. Wray 156 

By Angela Hardy 

Getting verbally tactile with the Graphically-Organic 

abstract work of Vincent J. Wray 

Directory of Artists and Galleries 176 

In alphabetical order you can easily find all featured artists 

and advertising artists, along with featured galleries in our 

index directory. 


Richard Levine 

Pastel Painter Landscape and Figurative 

“The Coast at Port Clyde” 

www.richardlevine.net 

email: artisanrichard@gmail.com 

Davis & CO Fine Art 

dandcgallery.com

Contemporary Abstract Art 

in Acrylics and Mixed Media 

“On the Edge of Something” 30” x 24” 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 Writer Dave Justus 

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 No 12 

www.kwoodfineart.com 

visualwestphotography.com 

www.kristinekainer.com 


The Painter’s Keys 

Robert and Sara Genn 

Design life 

Winter 2014 

Robert Genn’s 

Studio Book 

American sculptor Robin Antar says, “Life is an empty square unless one fills it up with matter.” Life is also just waiting 

for our design. Last Saturday my family joined old and new friends, artists and collectors who had gathered to celebrate 

a personal connection with Dad’s paintings. Wet eyes and tender smiles met in front of painterly mountain peaks rising 

behind dove-grey clag, scumbled islets and weathered totems, their silvery cedar breathing from the canvas. I saw the 

sparkling faces of the local art chapter -- torch carriers for the collective cause. Love was in the air -- love of art and the 

art life -- shared by a collection of people witnessing the revelation of a life composed and executed from a thoughtful 

design. 

“Design is the application of intent,” says Robert L. Peters, “the opposite of happenstance, and an antidote to accident.” 

Peters, a designer and conservationist, has been living, since 1982, in an ultra-low-energy, passive solar house of his 

own construction. “I get just as excited about building a birdhouse as when providing strategic counsel to a client,” he 

says. Design informs his every manoeuvre. And what about people “Design creates culture. Culture shapes values. 

Values determine the future,” says Peters. 

The Painter’s Keys - Sara Genn 

A life by design is within grasp -- so is a world. As artists, we’re already in the practice of understanding how to be true. 

Our lives are devoted to developing a craft, not to be victims of aesthetic, philosophical or functional accidents. “The 

details are not the details. They make the design,” said Charles Eames. Agency is a powerhouse -- in the microcosm, it’s 

on the picture plane. But the brave among us design inward and then outward to involve the workings that shape our 

global landscape. “A man,” wrote 19th century author James Allen, “sooner or later discovers that he is the master-gardener 

of his soul, the director of his life.” 

Sincerely, 

Sara 

PS: “Life is your art. An open, aware heart is your camera. A oneness with your world is your film. Your bright eyes, 

your easy smile is your museum.” (Ansel Adams) 

“I am not afraid of storms, for I am learning how to sail my ship.” (Louisa May Alcott) 

Esoterica: Robert L. Peters was born the middle son of Mennonite missionaries in Steinbach, Manitoba in 1954. At the 

age of 3 his family moved to Frankfurt. After studying art and religious studies in Switzerland and the U.K., Robert 

volunteered with an African Relief mission before returning to Canada to begin life as an artist and illustrator. Winnipeg-based 

Circle Design, under the direction of Robert L. Peters, has built brands, identities and communication globally 

and has also designed many Canadian postage stamps, first day of issue covers and philatelic collectibles. Circle’s 

work has been recognized and collected worldwide and has won over 60 awards for design excellence. At home in the 

woods of Eastern Manitoba, Robert has no need for a powered furnace. He does, however, have a climbing wall. “Here 

is a test to find whether your mission on earth is finished. If you’re alive, it isn’t.” (Richard Bach) 


Colorado Homes & Lifestyles 

BEST ART GALLERY, 2010 & 2012 

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TOP 24 GALLERIES IN THE USA, 2012, 2013 & 

Artwork (l to r): Laurie Justus Pace, ‘The Gathering One’- Original Oil on Canvas, 32” x 48”; 

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

Bruce 

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Marion, ‘The Adventure Begins’- Original Acrylic on Canvas, 36” x 60”; Jill Shwaiko, ‘O

Magazine 

A ‘STYLE-MAKER’ 

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Larisa Aukon, ‘Thousand and One Night,’ - Original Oil on Linen 30” x 48”; 

pez Barbosa, “La Villita,’- Oil on Canvas, 46” x 44”; 

n a Mission’ - Limited Edition Bronze Sculpture, 24” x 19” x 9”

Jonelle T. McCoy 

Rhythm and Hooves Series “Encore” 

Blending texture and color 

for an equine portrait with depth and richness. 

jonellemccoy.com

www.caroljosmidt.com 

carol@caroljosmidt.com 

“Swamp Queen" Oil 

7" x 14"

Michal Ashkenasi 

Abstract Figurative and Minimalistic Paintings 

“Abstract 1” 

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Michal Ashkenasi 

“Abstract 2” 

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BAUER 

Logan Bauer 

Logan Bauer spent much of his elementary and secondary school years overseas. He took his first 

painting class in London, England at the age of 13 years old. Upon his return to Arizona, he continued 

to take art classes at Phoenix College, and it was not until recently that painting stopped 

being a part time endeavor or hobby, but it became a full time commitment. 

He presently paints out of his studio located in Northern Arizona near Prescott. 

LoganBauer.com

Landscapes, Life Drawings, Still Life, Figurative Portraits 

LoganBauer.com

BAUER 

Logan Bauer 

LoganBauer.com

Landscapes, Life Drawings, Still Life, Figurative Portraits 

LoganBauer.com

John Whitton Bria 

JohnBria.com 

Heading Toward The Old Man Of Storr 

Isle Of Skye, Scotland

Judy Wilder Dalton 

Contemporary Fine Art 

Finding Life in Art and Art in Life 

“Snowfall” 

judywilderdalton.com 

wilderartist.blogspot.com

Aspen S P A C E S 

Moonlight Trance 48 x 36 Acrylic with mixed media 

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

Isabelle Gautier 

French Contemporary Flair 

“Panther Creek” 36 x 48 

www.IsabelleGautiersArt.com

Leslie Sealey 

f i n e a r t 

“Awakening” 16 x 16 Oil on Panel 

The Lily Series 

LeslieSealey.com

Collectors Discover New Art Daily. 

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Aixa Oliveras 

“At the Threshold” 36” x 60” Oil on Linen 

“Realist paintings that convey a haunting quality to everyday scenes, 

with a psychological depth and an other-worldly feel.” 

- Michaela Mende Janco, juror 

Art of Women Exhibition - Artisttableonline.com 

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Roseanne Snyder 

“Saturday Night Live” 

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Vicki Rees 

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Valerie Travers 

“Seaspray” Oil on canvas 30” x 20” 

“Coastal Beauty” Oil on canvas 30” x 20” 

www.valerietravers.com

Valerie Travers 

“Heavenly Feelings” Oil on canvas 30” x 20” 

“Reaching for Heaven” Oil on canvas 30” x 20” 

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VL 

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In the Studio - Photo by John Balsom 

rainerart.com

VL 

Any Colour You Like 

The Haunting, and the Happiness, of Rainer Andreesen 

as told to Dave Justus 

Prince Rupert is, quite literally, the end of the road 

for a coastal island on the northwestern coast of 

British Columbia, 500 miles north of Vancouver, 

Canada. I was born there in 1963, and spent an 

interesting childhood in this remote, unique, relatively 

wealthy town. Prince Rupert was basically a 

fishing village at a time where there was a great 

deal of money to be had in that industry. I found 

myself attending high school with friends that made 

$250,000 in a summer fishing. Instinctively, though, 

I knew at a young age that theirs was not the life I 

wanted, and so I tried to find what interested me in 

a path to my own happiness. 

Art was my salvation. I felt truly at home in my heart 

while drawing or painting. I had no idea of where it 

would lead me, yet somehow I knew that it was my 

ticket to see the world beyond the small island on 

which I grew up on. 

After graduating from high school in Prince Rupert, 

I went to art school in Vancouver. I remember being 

terrified at the challenge of not really knowing how 

I was going to turn my love of art into a stable career. 

I ended up taking a three-year intense graphic 

design program at Capilano University in Vancouver, 

which honed my skills in illustration and design 

before directing me into a career in advertising. I 

worked for an advertising agency for two years and 

then moved to a design studio for two more, while 

maintaining my own clients for corporate design 

and illustration. Eventually, I ended up opening my 

own design studio while spending what little free 

time I had painting portraits on the side. I found myself 

bogged down with the design work; although I 

loved it, I also felt pressured by the changing, computer-driven 

design world. When I’d graduated from 

art school in 1986, computer design had not been 

part of the curriculum. I have since incorporated 

computers as a helpful tool for drafting compositions 

before they reach the canvas, but back then, 

they seemed more of an obstacle than a boon. 

At that time, one of my clients was a fashion photographer 

who asked me to model for a project she 

was working on. The notion came out of left field; I 

had never once considered modeling as a career. 

That job led to a department store campaign that 

featured me on billboards all over Vancouver. A 

scout from Italy saw the billboards and asked me to 

come to Milan with a modeling contract. I thought it 

was the perfect opportunity to travel abroad and left 

for Italy on what I thought would be a two-month adventure. 

Two years later, I was a successful model 

traveling the world and eventually found myself living 

in New York. My time there—and all the travels 

that had led to that point—had provided me with a 

life far afield from where I’d started and full of inspiration 

and adventure. My modeling career was going 

very well; I was working for top designers such 

as Armani, Valentino, Zegna, and Gucci. I ended 

up with a contract for Saks Fifth Avenue in New 

York while at the same time working for J.Crew, 

L.L.Bean, and Eddie Bauer, among many other catalog 

companies. Even today, I am as surprised at 

my continued success in the field as I was at that 

very first job offer. 

RainerArt.com 

36 | VL Magazine - VisualLanguageMagazine.com 

Right Page: La Gitana



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Ken Olin 48 X 60 Oil on Canvas 




After a while, though, I found myself missing the actual 

painting of portraits. I have been obsessed with 

portraiture as far back as I can remember (which 

may not be saying much, as my memory seems to 

be fading fast), and although I kept a sketchbook 

throughout my travels, nothing for me was as satisfying 

as painting. After six years in New York, I took 

a break from modeling and moved to Los Angeles 

with my partner, actor Victor Garber, to concentrate 

on my paintings of portraiture. With all my adventures 

and inspiration from my travels, the brush became 

my guide to paint what I had built up inside 

me. I had started with watercolors, but made the 

switch to oils and never looked back, feeling they 

were the best medium to express what I needed 

to get onto the canvas. I painted constantly for the 

next eight years, doing commissions and working 

on my first solo show. 

During this time, I brought forth a series of paintings 

that I felt had always been deep in my soul, of 

portraits in black and white. This Gray Matter series 

explored the humanity of a portrait and its perception 

by the viewer. I listened to, and meditated 

on, Pink Floyd’s The Dark Side of the Moon album 

every morning and while I painted each portrait. 

It was one of the best and deepest experiences I 

have ever had while painting. The show was a success 

beyond my wildest expectations. The turnout 

of people—including Ben Affleck, Martin Short, 

Steve Martin, Sean Hayes, Alec Baldwin, and Tom 

Hanks—was amazing, and the show sold half of 

its inventory in the first night. To say that I was 

humbled is an understatement. I am not someone 

who looks for acclaim in the art world; I don’t enter 

portrait compositions or artist workshops to gain a 

name or reputation. My goal is to paint what I see 

in the world and how I see it according to my own 

eyes, and hope that someone can respond to it. 

The fact that so many did, and continue to, is enormously 

gratifying to me as an artist. 

I am still working on commissions from that show, 

although I have moved back to New York. In 2009, 

Victor and I bought a house in upstate New York 

as a getaway from the city, and I converted the carriage 

house into a studio. Half of my time is now 

spent modeling again after my eight-year hiatus, 

and the other half with painting in my upstate studio. 

I find it to be a great balance to live in Manhattan, 

with all its attendant energy, and to travel to 

the unique locales where I model, allowing all of 

those experiences to flow into my paintings. 

Ken 48 X 60 Oil on Canvas 



VL 


Victor Reading Oil on Canvas 

Inspiration for my art comes from so many sources—from other artists, to musicians, to encounters I can 

scarcely explain. By far, my most constant inspiration is famous portraitist John Singer Sargent, but I am also 

sparked by his contemporaries George Bellows and Anders Zorn, as well as the recently departed Lucian 

Freud. 

I often make a musical playlist for each particular painting I am working on. Depending on the moods and 

themes I’m trying to achieve, the song selection can range from classical to singer-songwriter, from haunting 

melodies to straight-up rock ’n’ roll, or may be centered around a single recording artist. For the Gray Matter 

series, Pink Floyd was the perfect companion to the haunted mood I was striving to create with each portrait. 

The album spoke to me, and complemented the underlying theme of the show, with its commentary on society 

and how we see it. With the painting of my partner Victor, I listened to classical music from start to finish. 

His portrait demanded long hours of concentration for me, reflected in lengthy symphonic movements… and 

classical music also reflects his personality, as he listens to it constantly in his free time. I also threw in a few 

of his own Broadway recordings from time to time, such as “Johanna” from Sweeney Todd and “The Ballad of 

Booth” from Assassins. It helped me break up the process a bit and get inspired by the voice of the talented 

man I was painting. 



Andrew 48 X 60 Oil on Canvas 



VL 


Victor Reading Oil on Canvas 

Whoopi 


20 X 24 Oil on Canvas 


Clive Davis 18 X 24 Oil on Board 

The painting of music producer Clive Davis was done while listening to the wide variety of artists whose 

careers he is responsible for cultivating, such as Simon and Garfunkel, Santana, Janis Joplin, Aretha 

Franklin, and Whitney Houston, to name but a few. Whoopi Goldberg was painted while I listened to the 

soundtrack of The Color Purple. The photo I used for that piece had been taken at the time when she 

had filmed the movie, and the music provided a great way to hold onto her spirit while painting it. Unless 

a certain portrait requires a specific genre of music, I enjoy painting mostly to a haunting playlist of such 

artists as Radiohead, Ray LaMontagne, James Vincent McMorrow, Gustavo Santaolalla, and of course 

Pink Floyd. The landscape paintings and still lifes are usually started with classical music, but can slip into 

singer-songwriters if the mood reflects it. 



VL 


Top Left: Robin Wright 20 x 24 Oil on Board 

Top Right: John Glover Study 

Bottom Left: JBH “The Waiting” 24 x 30 Oil on Linen 




Diana 24 x 30 Oil on Linen 



VL 


Perhaps there is a reason I keep returning to music 

that gives me a haunted feeling. The upstate house 

that Victor and I bought once belonged to legendary 

burlesque entertainer Gypsy Rose Lee in the 

late 1930s. In the first few months of our residency, 

I painted the interior of the house, along with doing 

a few other repairs that needed attention. During 

this time, I felt that there was a nonthreatening 

presence in the house, occupying the third floor. 

I was uncomfortable with the thought, but I always 

felt welcomed in the home by the presence. One 

night, while in a restless sleep, I awoke to see a 

ghostly, ashen figure floating at the foot of my bed. 

I felt conflicting emotions of shock and comfort… 

but at the same time, I did not like that the presence 

had found its way to my bedroom, as I had locked 

the door to the third floor every night. That image 

was to haunt me for some time. 

As an epilogue of sorts to this ghost story, a year 

or so later I approached a girl at my New York gym, 

something I never do, and asked if I could paint her. 

She agreed, but after many attempts in my New 

York City studio, I did not feel that I captured her. I 

finally did a large painting in my studio upstate and 

found that suddenly the portrait worked. I hung the 

painting in my bedroom upstate, because the background 

seemed to match the wall color there. One 

night I awoke to see the same pale, ashen-dressed 

figure I had glimpsed two years previously… but 

this time, thankfully, it was only my painting. 

Through a neighbor and our landscaper, I later 

learned that the ghost was not on the third floor, 

but in our bedroom on the second story. Intrigued 

but hesitant, I began to investigate the ghost’s existence. 

My neighbor told me of three deaths in the 

house; the ghost was the first of these. Ginny Augustin—herself 

an artist—had died there, though 

reports vary as to whether it was by murder or suicide. 

After three months of our fixing the property up and 

almost finishing the interior painting, a fire struck 

the house. Three quarters of the outside walls remained, 

and the top floor was gone. Investigators 

attributed it to old wiring, but I felt sure it was Ginny. 

Though I hoped her ghost was gone after the fire, I 

still felt a chill in my spine every time I approached 

the property. I worked in the studio while the house 

was being rebuilt, but continued to feel apprehensive 

until the old plumbing and wiring were hauled 

away. I remember that moment clearly: After a day 

of painting, I headed to the house without a shiver 

in my spine. I knew, at last, that Ginny was gone. 

The Ghost Paintings Series 1 




The Ghost Paintings Series 2 



VL Rainer Andreesen 

Brooks back stage 20 X 24 Oil on Board 

Right: Giaunluca 24 X 30 Oil on Linen 





VL 


Morning light 24 X 24 Oil on Canvas 




Nathan Lane 30 X 40 Oil on Linen 



VL Rainer Andreesen 

My partner of 15 years, Victor Garber, influences 

much of my work. He is like a second pair of eyes to 

me, often coming into the studio and commenting 

on the paintings I am working on. His fresh eyes 

are able to tell me what is wrong or right with each 

painting in progress, and he is usually able to pinpoint 

something that I can’t see after living with a 

painting for a long period of time. I sometimes use 

a mirror to reflect the image I’ve painted—a helpful 

method of seeing a change I need to make if I 

can’t figure it out otherwise—but Victor is the mirror 

I trust the most. His influence also inspires me 

in many different ways. His Broadway background 

leads us to see many shows together, which give 

me a rush of influence that seems to filter into my 

paintings. Most recently, we saw Tom Stoppard’s 

Indian Ink, a drama—featuring, incidentally, a portrait 

painter—which dove into my soul, pushing 

me to rush to my studio to paint more of what I 

feel, rather than what I know. Victor and I also visit 

museums, both in New York and on our travels, 

with hours of discussion afterward. His views and 

insightfulness always seem to come into my head 

while I am painting. He helps me mentally when I 

get overwhelmed with a painting or with our busy 

schedules by calming me down and getting me to 

look at what is most important at the time. 

I am inspired by my blessed and wonderful life 

in every moment that passes, and I use that as 

a deep well from which to draw. I often find myself 

looking at my everyday experiences through a 

brush and a canvas, with the hope that this shows 

in every painting I create. The experience and life 

in a subject I paint has to come across in the final 

piece. This is what I always strive to produce. To 

not only capture the likeness of the person, but 

to capture the soul and spirit, is the most fulfilling 

feeling I could ever want and need when I paint a 

portrait. 

Self Portrait 20 X 24 Oil on Canvas Board 

Right: Victor 24 X 30 Oil on Canvas 





discover art . inspire collectors 

engage discussion . celebrate life 

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

Home is where the art is. 

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dandcgallery.com 


Exclusively at Davis&Co

Bob Coonts 

COONTS 

“Prancer II”, 36” x 60”, Acylic on Gallery Wrap Canvas 

www.bobcoonts.com

Carol Engles 

California Abstract Artist 

carolenglesart.blogspot.com 

carolengles.artspan.com

“Amaryliss 8 x 10” 

Connie Dines 

www.artfulexposures.com

Artful Exposures 

One Frame at a Time 

“Pomegranite”

Night Gathering 36 x 26 Oil on Canvas

Laurie Justus Pace 

Shades Advancing 24 x 48 Oil on Canvas 

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 

http://www.ellepace.com/paintings-for-sale/

VL 



VL Studio Visit with Angela Hardy 

Artist, Painter, Storyteller 

When studying a person to prepare to paint 

them, I need to honor them down to an emotional, 

cellular, historical level. When I begin to 

look and learn about the person I am about to 

transform, each person begins to take on a luminosity 

all their own. For every person I paint, 

each curvature of their skin is supported by 

structure that holds a historical story line. Within 

this the strength of their bone and muscle, 

which shows right to the surface in movements 

in their skin, creases, dimples, wrinkles of all 

ages. These are the stories of failures and triumphs, 

pains and blessings, loss and gains of 

love, loved ones, past, present and foreshadowing 

of an untold future. 

The colors, tones and vibrancy of what pulsating 

skin shows me is unique. This I want to share 

with you. To give those that see my work a taste 

of their spectacular, soulful, cellar creativity that 

each emits, of which most are unaware. I paint 

to show that all on their own, they are growing 

creations, masterpieces. That someone, such 

as myself is so in awe of, I adore this and am 

compelled to recreate in paint. All in hopes that 

through my eyes and with my hand, people 

get a second sight of their rareness. Leaving 

a reminder on this earth and to the world, how 

magnificent they are. That each person is a 

rare beauty and a strength that is translated in 

to paint is an honor. 

So the painting process is somewhat a story 

process, a therapy process, a healing process 

and in part an architect process for each person 

involved, including myself. Within this structure 

is my mission to create, to paint the obvious, 

however to dig in deep, to decode, dissect, unlock 

the not obvious; the part of the soul and 

being which the person feels that which they 

often believe is not beautiful. Painting so that 

they can see their true beauty and by doing 

so, I have to do the same for myself with each 

stroke of my brush. 

Currently am I am working through 50 celebrity 

icons, with which I will be partnering with world 

renowned photographer and creative genius, 

Dr. Andy Gotts MBE, to do a show in NYC. 

Meeting Andy personally over 2 years ago, face 

to face, changed my life. Meeting Andy, sitting 

with him privately in London for several hours I 

was entranced with his stories of life and how 

his career began. He has such a humbling 

presence, melded with magnificent passion for 

his art and the people, the celebrities he captures, 

it enamored me. His vision, drive and his 

determination was something I could relate to, 

understand and aspire to. 

“I see my portraits of actors as a moment in 

time. There is no retouching involved; if there’s 

a hair out of place or a spot on their cheek, I’ll 

leave it in. In years to come I’d like people to 

look at my portraits and be able to see exactly 

how an actor looked on that day.” ~ Andy Gotts 

When asked to join him on this monumental collaborative 

show, which will be in approximately 

1 year in NYC. My vision of Andy’s images 

in paint, shown side by side with his Photos. I 

was speechless, floored, beyond grateful that I 

would be given such a blessed opportunity to 

join visions. How my eyes transcribe in paint, 

with how Andy’s eyes captures with the lens in 

such exquisite, timeless moments. 

That dream of being able to make the invisible 

now visible, show people their strengths, 

stories and beauty on a massive level is happening. 

With gracious thanks to those that I am 

privilege to paint, people like you who support, 

and to Andy and the ‘Andy Gotts’ of the world 

who willing are invest in the dreams of the creatives. 

Thank you. 

Right: Lauren Bacall 

6x6" 

Graphite sketch 

http://www.angelahardyart.com/ 


Lauren Bacall 

24x24" 

Acrylic on Gallery Panel 

http://www.facebook.com/angelahardyfineart 


VL Studio Visit with Angela Hardy 

Clint Eastwood 

6x6" 




“Angela Hardy’s work is simply breathtaking. It oozes depth and feeling and gets under the skin of her 

subjects. Each brush stroke adds another layer of passion and feeling from this amazing artist and I am 

proud to have her work in my collection.” ~ Dr Andy Gotts 

Clint Eastwood 

24x24" 




VL Angela Hardy 

Robert De Niro 

6x6" 


Robert De Niro 

24x24" 






VL Angela Hardy 

Sir Christopher Lee 

6x6" 


Sir Christopher Lee 

24x24" 


ANGELA'S ART 


https://www.etsy.com/shop/AngelaHardyFineArt/ 


"Color is my day-long obsession, joy and torment."-Claude Monet 



Elaine Vileria 

Sorento 

elainevileria.artspan.com

Sanda Manuila 

“OutSide of TIme” Oil on Canvas 

sandamanuila.artspan.com

SCOTT MCINTIRE 

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

Poppy Engergy Field | Enamel on Canvas | 36” x 41” | 2013 

scottmcintire.com 

issuu.com/mcintire

Susan Ketcham 

PSA 

“Checking it Twice” Giclee 

SusanKetcham.com 

Ketcham Studio Gallery 6616 Blueberry Lane Pipersville, Pa. 18947 Phone: 215-766-0731

WOMEN ARTISTS OF THE WEST 

WAOW GOES WILD 

The best of WAOW wildlife art - online only at waow.org 

BEST of SHOW 

Deborah LaFogg Docherty 

“Wood Storks” pastel 20 x 24 

www.lafogg.com 

SECOND PLACE 

Georgene McGonagle 

“Forget-Me-Not” bronze 16” x 9” x 5.5” 

www.gmcgonaglestudio.com 

THIRD PLACE 

Linda Eppinger Johnson 

“Horned Toad Baby” watercolor 18 x 22 

www.heirloomtreasures.net

VL 

Artspan Studio Visit 

Richard Lewis 

http://www.rlewisstudio.com/

http://www.rlewisstudio.com/

VL 

Studio Visit Richard Lewis 

Learning to See 

I have always seen my journey of painting for the last 

25 years as slowly learning to see. 

After getting my degree in architecture at SCIArch I decided 

that being able to do nice renderings for other 

architects might be a good may to make money when 

I have extra time. I chose watercolor because oils always 

seemed too smelly. I always liked cars so I started 

by painting a Ferrari and after a few hours it actually 

looked like a car. I had only bought a half dozen colors 

with about half being shades of red so my first series 

was Italian cars. Each one was took longer and was 

better than the last as I was more careful in getting details 

correct. So, I bought more paints and got bigger 

paper. 

I do my paintings from a projected slide and at first I 

kept seeing anything or anybody in the reflections as a 

distraction to the car. Then I did “Duesy Chrome” and 

kept in the car reflecting in it. I felt this added to the 

painting. When I took my next photgraphs I tried to get 

certain reflections as much for the interest as the challenge. 

This lead to “XK120 on XK140”. Shortly after 

that I had twin boys and couldn’t paint for a few years. 

But, the concept of the “Fraternal Series” where one 

car related to the other had to be reflected came to me. 

This really narrowed down what I would take pictures 

of. I thought no one would want a Mustang reflected on 

a Rolls Royce. 

Now my paintings have much less to do with the car 

than the reflections in the car. I am always looking to 

find interesting clouds, trees, other cars and people in 

the reflections when I take my pictures. All these reflections 

are what make the curves in the chrome and body 

of the car show off really well. I also look for reflections 

that go back and forth on each other. One of the challenges 

I have is getting the reflection look like the car 

with out getting too distorted. It is amazing how moving 

one inch can totally change the whole picture. I usually 

will shoot a dozen shots while just moving a tiny bit in 

each direction. It isn’t until I view the pictures on the 

computer that I really see some of the more interesting 

reflections that I hadn’t planned on capturing. 

Now when I am driving I often find myself looking at 

reflections in the cars around me. I find it interesting to 

watch the reflections change as the cars go down the 

road. A partly cloudy day can make almost any car look 

beautiful to me. I don’t remember noticing reflections 

like this before I started painting. But now I feel like I 

see them all the time and really do enjoy them. 

Right: DEUSY Chrome 

Left: DELAHAYE at the Eiffel Tower TOWER 

http://www.rlewisstudio.com/ 




VL Studio Visit Richard Lewis 

Above:E Squared 

Right: Bugatti Grille 






BUICK Hubcap 


Above:Wings on a ROADSTER 

Right: Alfasccd 







MERCEDES Grill 






My method of painting with watercolors is to layer the colors on. This meant 

that each previous layer has to dry completely or the next wet layer would turn 

the previous layer to mud. So, now I usually paint about 3-4 hours at a time 

and wait a day or two before the next layer goes on. I have as many as forty 

layers of colors to get to the blackest blacks. This gives large areas a much 

more dynamic look than just one quick dark layer. This method gives cloud 

reflections a great look in the reflections. 

Before I took up painting I did some computer art. This was long before PCs or 

color printers were around. The only output was with a eight pen plotter. The 

only way to get multiple shades of a color was to tell the computer to draw multiple 

time in the same area. The computer had a pen stylus that I would trace 

over an area and tell it what color to fill in. When I started using watercolors I 

just kept thinking the same way and would first lay down a color that is lighter 

than weak tea and keep adding darker and darker shades where I wanted it. 

The blackest areas have many layers and multiple color put in them. 

I had fun with a recent painting and did a stop motion video of it. You can see it 

at https://www.youtube.com/watchv=K-V1i9nUqBA And yes, I really did paint 

it in that order. It took 18 months altogether and is comprised of 800 pictures. 

I hope you start seeing the way I see now. 



“Celebrating the stories and legends of Texas and 

the Great Southwest through original art, prints and books.”

601 E Hwy. 82 - Nocona, Texas 76255 . 940-825-7226 

www.TexasTrailArtGallery.com . Facebook: Texas Trails Art Gallery 

Tuesday through Saturday 10 to 6 . Sunday 1 to 5 . Closed Mondays.

Judy Mackey 

“Patience” Oil on Canvas 

“Patience 2” Oil on Canvas 



www.JudyMackey.com

Judy Mackey 

“No Worries” Oil on Canvas 

www.JudyMackey.com

Roberta McGowen 

visualwestphotography.com

Visual West Photography 

“Teamwork” 

visualwestphotography.com

LADY L 

Colors Make Me Happy 

Daisy Pink 24 x 24 inches 

Acrylic on Canvas 

ladylart.blogspot.com 

ellepace.com/lady-l-artist

She began painting at age 2 on small pieces and by age 3 moved up to 

full size canvas. Lady L is the granddaughter of Texas Artist Laurie Pace.

VL Holiday Greetings 

From the 

Artists of Texas 


Poinsettias in White by Nancy Medina 

12X16 oil 

Poinsettias in White was created to celebrate the beauty of 

Christmas, white florals, pastries, twinkling lights, and all the 

joys of the holiday season. 

Nancy Medina 

Flower Mound Art Studio 

Flower Mound, Texas 

http://nancymedina.com/ 



From the Artists of Texas 

“Peppy Poinsettia and Pine Cone” Amy Hillenbrand 

Oil 

Sometimes the best Christmas presents of all come in the 

very smallest of packages. This little wee painting represents 

some of the small treasures of the season with red 

poinsettias, nature’s pinecones and a simple package. No 

bling, but a lot of spirit. 

www.amyhillenbrand.com 

“Cold Snow” Barbara Haviland 

Oil 

I painted both of the snow scenes because I like the 

snow and wish it would snow like this where I live. 

Snow reminds me of the birth of baby JESUS. 

https://barbara-haviland-art.squarespace.com/ 


“Christmas Reds” Carolyn Hancock 

Pastel 8 x 8 

Christmas Reds provided a head start on building a subscriber base for my first ever newsletter in 

January 2012. It was a “subscribe to my newsletter” giveaway that found its way to the home of a 

wonderful friend. 

http://carolynhancock.com 


VL 

Holiday Greetings 


“Christmas Wish” Cheryl J. Smith 

Oil on Canvas 

This is a picture of my grandson; he was really trying to decide 

what he wanted for Christmas. He was a little nervous, but 

stayed there so he could tell Santa what he really wanted for 

Christmas. 

http://cheryljsmithfineart.com 

“Santa” Debra Latham 

Santa is keeping an eye on the little ones because he’ll 

be making his list pretty soon. Let’s hope your name is 

not on the Naughty side. 

http://debralatham.com 

“Cupid” Deran Wright 

(Right) 

The model was my son at age 3. It fits in with my general 

fascination with classic mythology. The arrow 

point is wickedly sharp, because sometimes, unfortunately, 

love hurts. It is 15” tall, and about 11” wide, on 

a 6” granite base. 

www.deranwright.com 



VL 



“In Emmy’s Room” Ed Crumley 

“In Emmy’s Room” was a painting I 

did for my granddaughter Emeline. I 

pulled together some of her toys and 

things around our house she liked to 

play with, and in the center, placed 

one of her baby photos. Some items 

were old Christmas toys. 

http://www.edcrumley.com 

“Christmas Gift” James Loveless 

16 x 20 Oil on Canvas 

This painting is of my granddaughter. She was born 

around Christmas and we call her our “Christmas Gift”. 

http://www.jamesloveless.com 


“Little Red Poinsettia” by Joan Eure 

Picture it!! Holiday smells are in the 

air, as we are running here and there. 

It brings lots of memories of childhood 

times. Grandma and Grandpa coming 

in with gifts and Christmas chimes. 

Now the last gift is wrapped in gold paper, 

and is laid beside the burning tapers. 

Grandma opens the small gold 

package, with that beautiful red ribbon 

that matches. As she sees the small 

miniature painting, tears start to form 

in her eyes. She looks at me and said, 

this is the best surprise. 

http://joaneure.com/ 

“You Said You Wanted a Car” Janet Broussard 

http://janetbroussard.com 




“Poinsettia” Judy Mackey 

This painting of the poinsettia is rich 

with deep colors and texture. I loved 

painting this with thick layers of paint 

and the palette knife to give life to this 

Christmas flower. 

http://www.judymackey.com 

“Christmas Ornaments” by Kristine Kainer 

Oil 6 x 6 inches 

The tree is finally decorated and a chill is in 

the Texas air! These vintage ornaments originally 

adorned my parents’ freshly cut Christmas 

trees over the years. Many broke and are 

memories in photo albums. A few survived, 

though--including these silver and red balls. 

They now have places of honor in my home 

(and are carefully stored after the holiday season!). 



“Christmas Wreath” Judy Wilder Dalton 

8 x 8 Oil on Panel 

This Christmas wreath was painted by memory in a very abstract impressionist style. I enjoy pulling the 

colors and shapes from memory to represent the emotions and feelings of the subject. 

www.judywilderdalton.com 


VL 



“Christmas Mansion” Kyle Wood 

5” x 7” ,Oil 

“Christmas Mansion” is one of favorite Christmas 

Scenes of all times. This is a local scene 

from my hometown in Terrell, Texas. Every 

Christmas for the past ten years or so, I have 

driven by this beautiful white mansion, decorated 

with Christmas Wreaths and Electric 

Candlers in the windows. The decorations are 

rather simple, but profound on this beautiful 

classical style home. Of course, I had add the 

snow to bring out the Christmas Spirit. 

“Christmas Jewel” Kyle Wood (Right) 

5” x 7” ,Oil 

“Christmas Jewel” is a still-life painting of an 

ornament from our Christmas Collection. I 

loved how the glow of the Christmas Lights 

and nearby lighting from a closet played on 

this Jewel. Out of all the ornaments we have, 

this is one of my favorites. 





VL 



“A Bright Moment on a Dreary Winter Day” 

Patsy Lindamood 

Oil 

Going through my painting images I came 

across this tiny red cardinal. With his bright 

red feathers, he stood out in the winter landscape 

and definitely cheered the silence with 

his presence. 

http://wildthingsartwork.com 

Christmas Time, Melissa Torres 

Acrylic 8 x 8 

Poinsettias are one of my favorite things about 

Christmas. 

www.melissaatorresart.com 

112 | VL Magazine - VisualLanguageMagazine.com

“Texas our Texas” Laurie Pace 

Photography 

Most of my art is painting done with a knife and oil paint. As an artist I realized the importance 

of my camera in capturing the things to paint in the studio. This picture captured the 

beauty of a winter holiday in Texas. 

http://lauriepace.com 


VL 



“Forrest Santa” Leada Wood 

Watercolor 

Forrest Santa was reproduced for my Christmas 

cards one year. I saw a big banner in a 

store and thought he was so cute and fun that 

I wanted to paint him. 

www.leadawood.com 

www.leadawood.com/blog 

“Christmas Angel” Leada Wood (Right) 

Watercolor 

Christmas Angel was created for an exhibition 

at the Heritage Museum, with an angel theme. 

I used an old masters angel and put it in a different 

setting. This painting is watercolor and 

gold leaf. 

www.leadawood.com 

www.leadawood.com/blog 



VL 



“Aspen Snow” Roseanne Snyder 

18 x 24 Oil on Canvas 

The silence of snow falling in this Aspen forest 

is the symbol of peace on earth. 

roseannesnyder.blogspot.com 

“Special Delivery” Suzy Pal Powell 

Watercolor 

Each year I try to do a new snow person 

Christmas card. I love bikes and I 

though a snow kid delivery a special gift 

would be a good idea. 

http://suzypal.blogspot.com 


“Blue Dachshund Christmas” Vernita Bridges Hoyt. 

Watercolor and Ink, 9x9 inches 

I paint homeless dogs to help various rescue organizations. “Blue Dachshund Christmas” was 

selected as the official Christmas card for Coast-to-Coast Dachshund Rescue (CCDR) in 2009. 

This long-haired blue dachshund is celebrating a first Christmas with her new family. 

http://www.txsauce.net 


VL 



“Christmas Poinsettia” Barbara J Mason 

Pastel 

In it’s center, beyond the Christmas Poinsettia’s extravagant leaves, you will see the hidden inner floral 

beauty of this plant magnified. 

www.dragonflystudiocreations.com 


“Jack in January Snow” by Rebecca Zook 

With the winter sun warming his fur, this jackrabbit bounds through a rare Texas snow on 

a crisp January morning. 

http://RebeccaZook.com 


VL 



“Tree Lot” by Kristine Byars 

Oil 12 x 16 inches 

I still get goosebumps when I pass a Christmas tree lot at night. Like magic, the day after Thanksgiving, 

they pop up on some normally bare corner or parking lot, magically twinkling with loosely strung 

lights. A favorite family excursion! 

www.wildwood-studio.com 

120 | VL Magazine - VisualLanguageMagazine.com

“Poinsettia” Judy Wilder Dalton 

8 x 8 Oil on Panel Finding Art in Life and Life in Art 

This Poinsettia was painted by memory in a very abstract impressionist style. I enjoy pulling the colors 

and shapes from memory to represent the emotions and feelings of the subject. 

www.judywilderdalton.com 

VisualLanguageMagazine.com - VL Magazine | 121

Mary Jo Zorad 

contemporary fine art 

“You Have the Power” 12 x 12 Acrylic 

ZoradArt.com 

“Sedona” 

16 x 20 Acrylic

VL 

Barry Scharf 


The Artist and the Act 

of Spiritual Practice. 

http://barrywscharf.squarespace.com/ 

VisualLanguageMagazine.com - VL Magazine | 125

VL 

Barry W. Scharf 

The Artist and the Art of Spiritual Practice 

By Barry W. Scharf 

The devotion of the artist to his or her work has always 

been a topic worth pondering on a deeper level. 

We all have heard of the suffering artist and the 

commitment they make to become serious artists. 

Many painters say that painting is a religious experience, 

that they compare the process of applying 

paint to a meditation. 

Today it seems that much is done in the name of 

religion, some good and some bad, all to often the 

result seems to polarize humanity rather then join us 

together. I believe that what most of society longs 

for is a need to join together and it is often sought 

through religion and prayer. 

For the purpose of this writing the concept of prayer 

is defined, as saying words of praise, request, and 

gratitude to whomever you believe is a higher power 

be it external or internal. 

As an artist I find that the act of praying in many ways 

to be similar to that of painting with painting being the 

more productive, at least for me. The artist enters a 

meditative state in the act of painting and is often 

transported beyond what is being physically and intellectually 

expressed to an altered consciousness of 

being one with the work. 

Parallels to the ritual of praying apply in the form of 

the aforementioned above. Praising to acknowledge 

the presence of “Oneness” beyond limitations of our 

physical flesh, to a deeper soul-self that is part of 

every living thing. Requesting or asking for something 

we need or desire; and showing gratitude for 

the things we now have and how they give us our 

health, wellbeing and livelihood. 

In as much as I am speaking from personal experience, 

I can only assume that this may not be true for 

all artists as this topic relies on some form of belief 

beyond fact. If you can find some connection to what 

I am discussing and base it within your own belief 

system it may well be a universal experience regardless 

of religious dogma. To the artist that holds no 

belief system a concept of spirituality can still apply. 

For me this concept begins with praise while stretching 

and priming my own canvas, honoring an old 

ritual in the creative process and making possible 

a place for an unfolding of consciousness to be expressed 

and evolve through paint. Choosing the color 

palette that will soon set the mood of expression 

and prepping the surface of the canvas to the correct 

textural bite upon which the brush strokes will fall. 

At this point I am holding an intention of gratitude 

for my abilities, knowledge and confidence to execute 

the task of composition, content, color balance 

and emotional expression. Within each stroke of the 

brush I express gratitude and in so doing open my 

heart to the greater self beyond ego, to be able to 

focus on a complexity of what is often of symphonic 

proportions while allowing an uninhibited flow of the 

creative process to unfold through my painting. 

I often paint with some abandonment of intellect, detached 

and trusting to that greater self that guides 

the brush. It is a process founded in years of study, 

ritual practice and training that allows for intuition to 

guide what would otherwise be limited by thought 

and intellect. 

When starting a painting an intention to be available 

to a unique consciousness, to a process of watching 

as the painting comes together is possible. This sate 

of mind is like the ritual prayer found in most every 

religion. It is to suspend what is known to what is not 

yet known. 



Heart with Taco by Barry W Scharf 

Abstract 24 by Barry W Scharf

VL 

Barry W. Scharf 

City Interiors by Barry W Scharf 



With each new painting there is an excitement and apprehension. Will I be able 

to get to that special creative place again Can I let go of self-doubt, fear and 

distraction that seem to fill my thoughts My mind races with all the variables 

that can come into play; what is important and what is unnecessary 

With each new blank canvas I reset the inner mechanism and request the clarity 

of purpose, breathe slow and deep for several minutes allowing the mind 

to quiet. Stepping back or sitting in a chair looking at the large white surface I 

consider the new painting that will soon emerge. All that is needed is the right 

frame of mind to begin. 

It is at this point that I under-paint words of praise, request, gratitude, peace 

and love to set an intention for this painting to give off energies of healing and 

wellbeing regardless of the subject matter that is painted over the words. It is my 

belief that in this way I send a silent prayer to all who view the artwork. 

For me painting is prayer in action and the creation of positive energies unique 

to this artist. 

Girl at an Exhibition by Barry W Scharf 

by Barry W Scharf

VL 

VL 

Artist Interview 

with David Kalbach 

130 | VL Magazine - VisualLanguageMagazine.com 

http://www.kalbacharts.com/

VisualLanguageMagazine.com - VL Magazine | 131 

http://www.kalbacharts.com/

VL 

Artist Interview with David Kalbach 

When did you realize you loved art and wanted to be an artist When I was a child 

I loved to draw pictures of airplanes, cars, boats and people. My father, while not a 

practicing artist, was very proficient with artistic skills as was my grandfather. They set 

an example or had a skill level which I desired to emulate. 

Who has been your mentor, or greatest influence to date The most influential mentors 

have passed away. Louise Selin in high school (basic design), Bill Bacus (graphite 

and design) in Community College and Howard Warshaw (acrylics) at the University of 

California, Santa Barbara. Later in life, Margot Schulzke (pastel) and Nita Engle (watercolor). 

Who is another living artist you admire and why While I am not a “wild life artist” 

Robert Bateman is inspirational in his use of acrylic and his devotion to wildlife and conservation. 

He has a “life” ethic which sets a great example for others to follow. I also 

enjoy the works of Larry Rivers (who passed away in 2002). 

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

make it yourself. Arches 140# Cold Press and Hot Press paper and board for water media, 

Rieves, & PastelMat for pastel and Hardboard or Linen Canvas for oil and acrylics 

painting. 

What are your favorite materials to use No favorites. 

Do you have a favorite color palette My base color upon which I depend is PAYNES 

GREY. The balance of my basic pallet consists of French Ultramarine Blue, Brown Madder, 

Antwerp Blue, Cerulean Blue, Cobalt Blue, Bismuth Yellow, Aureolin Yellow, Cadmium 

Blue, Burnt Sienna and Cadmium Red Medium. Other hues are used as needed for 

a particular project. 

In pastels, I prefer hard pastels for initial work and finish off with Great American, Terry 

Ludwig, or Schmincke soft pastels. 

How often do you work on your artwork How many hours a week This would be 

difficult to calculate. Working is a matter of focus. When you’re on it can go on over 8 

hours a day until you finish….but then concerns about client expectations can become 

more than a bump in the road as you try to deal with a solution and “artist block” and 

refrain from starting a new project. 

What is the one thing you would like to be remembered for Not art. I want to be 

remembered for the successes of my children. 

http://www.kalbacharts.com/ 


Hornet Sunset 


Gasing Up 


VL Artist Interview with David Kalbach 

U2 Gittens 



There are many culprits that can crush creativity, such as distractions, self-doubt and fear 

of failure. What tends to stand in the way of your creativity The mystery and concerns about 

meeting the expectations of others . 

How do you overcome these obstacles I still struggle to find the means and ways to attack 

these obstacles. 

What are your inspirations for your work The passions relating to the activities of those in 

the famiy, their children and friends. There is a special interest in the activities of those who have 

dedicated their lives to others. That is probably one of the main reasons I have taken up the task 

of painting friends of my son who are active in the military. 

What is your favorite way to get your creative juices flowing I have two ways I address 

creativity. The first is through association with other working artists where you can spend quality 

time reviewing ideas and philosophies associated with esthetics and addressing problems which I 

want to address or explore – whether design issues or other messages one would wish to address 

through their art. 

The second method involves reviewing works of authors addressing issues, photographs which I 

have taken and added to my file of “scrap” and working on thumbnails set to music. 

Which work of yours is your favorite This is difficult. 

Right now my favorites would be: 

1. Navy Male (watercolor, a portrait of a navy pilot) 

2. U2, Gittins ( watercolor, a portrait of a U2 pilot, Justin Gittins) 

3. Contemplation (oil, two life figures) see web site, Figures section. 



VL 

Artist Interview with David Kalbach 

In the Pattern 



05 Filler UP 

Sea Stallion Refueling 



VL Artist Interview with David Kalbach 

Go Shawk 



Getting to know you Q&A 

What is your favorite color in your closet Blues 

What book are you reading this week Ben Carson. M.D. author. His book ONE NATION 

Do you have a favorite television show BLUE BLOODS or sports – Premier Soccer 

What is your favorite food This is difficult to answer as my favorite tends to change depending 

on the available menu. My favorite meal can be found in causine of Central Mexico, Northern Italy 

and Thailand. When I cook, my favorite fare would be a seafood pasta. Shrimp, mussels, calamari, 

and scallops sauted in a white wine bisque along with garlic, green onions, red and yellow 

peppers, some jalapeno and habanaro, sun dried tomatoes and broccoli. 

What color sheets are on your bed right now Cadmium Red Light bottom sheets with Ivory Top 

Sheet. 

What are you most proud of in your life Our children and the road upon which they are traveling. 

Who would you love to interview Barack Obama. Though it would probably pretty hostile. 

George Bush. 

Do you have a passion or hobby other than painting Yes. What is it Soccer. I coached soccer 

while my children were growing. We were pretty successful so I continue to enjoy professional 

games. 

I am also the Treasurer of the Pastel Society of the West Coast. I enjoy working with other artists 

in pushing programs to promote the exucation of future artists. 

Who would you love to paint Just about anyone with real character. How about Obama Perhaps 

Ben Carson or Dennis Prager. Just about any person except children. (I love kids – it’s just 

to difficult to get them to sit still. 

If you were an animal what would you be and why Probably a dog. Would enjoy the companionship 

with a dog lover. 

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

be My spouse, My art materials, and some clothes. 

If you could live anywhere in the world, where would you live Most any where. Love Germany, 

Northern Italy, England, Northern California, New Mexico, San Diego, Life is wonderful 



VL 

Lisa McKinney 

Lisa-McKinney.com 

lisamckinneyartprints.com 



WINTER THEMES 

“Can’t See the River for the Trees” 

24” x 18” 

“Spring Thaw” 

16”x20” 

“Jack in January Snow” 

11” x 16.5” 

RebeccaZook.com 

www.facebook.com/RebeccaZookFineArtPaintings 

rebeccazook.blogspot.com

Palette 

Knife 

Painters 

Paletteknifepainters.blogspot.com

Paletteknifepainters.org

Kimberly Conrad 

“Pouring Color Into Your Life” 

KimberlyConradFineArt.com

“Blazing Sky Reflected III” 28”x45”x1.5” 

Poured Acrylic on Canvas 

KimberlyConradFineArt.com

DAILY PAINTERS ABSTRACT GALLERY 

DailyPaintersAbstract.blogspot.com 

Carol A. McIntyre 

“Floating Winds, “ 28x21, Oil on Canvas

DailyPaintersAbstract.blogspot.com 

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

Barbara Haviland 

Barb’s Garden Art 

barbara-haviland-art.squarespace.com 

BarbaraHavilandFineArt.com 

barbsgarden.blogspot.com

CFAI.co December Artist Showdown 

Denise Bossarte 

Photography 

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

cfai.co 

Winter 2014 Juried Competition 

still life 

Carol Smith Myer 

-$500 in total cash prizes 

-Inclusion in the end of show video 

-Featured in the 2015 Collector’s Book 

+ MUCH MORE! 

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

VL 

VL 

VL Vincent Wray 

NOT SURE IF WE 

TURE FOR HERE> 


HAVE A FEA- 


VL 

Vincent Wray 

Getting verbally tactile with the Graphically-Organic abstract work of Vincent J. Wray 

By Angela Hardy 

I want to introduce you and give you the opportunity 

to meet artist Vincent J. Wray and 

see his work. A melding of styles that gives a 

graphically-organic visual and tactile feel to his 

sensational abstract works. 

He is an amazingly brilliant designer, marketing 

expert by trade, xwrayvision.com, but 

his hands-on passion lays within his brilliant 

multi-techinique, mix-media abstract creations. 

Upon large gallery thick wood panels, Vincent 

meticulously builds layers of paint, varnish, 

mix-media materials, sands, grinds, cuts into, 

blow torches, and will even pour gasoline over 

or pile other materials such as dried leaves, 

papers, other materials over top proceeding to 

light them on fire, dousing them, allowing their 

underlying process to manifest in an almost 

sacrificial process. Unveiling themselves to becoming 

fate driven masterpieces. 

I am entranced, gripped, with a wanton desire 

to explore up close the depths of intrigue held 

in Vincents work, and hope you will be to. 

Vincent, after years of cultivating this amazing 

technique and skill, has began to show his 

work to the public for public purchase and collection. 

I can say with hand to heart and creative 

soul that Vincent is going to become a 

very well known name in the art world. 

vincewray@xwrayvision.com 

Road map 24x48” 

Materials: Acrylic, Drywall Supplies, Gas, Propane and a Match 

https://www.facebook.com/theartofvincentjwray 




VL 

Vincent Wray 

Burn Squared Series - Honey Rush 24x48” 






VL 

Vincent Wray 

Burn Squared Series - Red Push 24x48” 






VL 

Vincent Wray 

Fly Little Piggy 24x48” 




Kill the Bunny 24x48” 


Twelve Streams 24x48” 




Alejandro Castanon 

www.vinodipinte.com 

Vino Dipinte Art Gallery 

602 Orient St San Angelo, TX 76903

alejandrocastanon.com

KRISTINE KAINER 


www.kristinekainer.blogspot.com

Texas Art 


www.kristinekainer.blogspot.com

Artists of Texas 

artistsoftexas.org

NO WHERE BUT TEXAS 

artistsoftexas.blogspot.com 

dailypaintersoftexas.blogspot.com

Felicia Marshall 

“Dressed Up” 

“Alone” 

Left page: “Sunshine on Hope” 

FeliciaMarshall.blogspot.com

VL 

Aixa 

Advertisers 

Oliveras 29 

Alejandro Castanon 166-167 

Amy Hillenbrand 102 

Angela Hardy 64-73 

Artists of Texas 100-121, 170-171 

Barbara Haviland 102, 152-153 

Barbara J. Mason 118 

Barry Scharf 124-129 

Bob Coonts 58 

Burneta Venosdel 79 

Carol Engles 59 

Carol Jo Smidt 15 

Carol Smith Myer 155 

Carolee Clark 174 

Carolyn Hancock 103 

CFAI 28 

Cheryl J. Smith 104 

Connie Dines 60-61 

Daily Painters 174-175 

Daily Painters Abstract Gallery 148-149 

David Kalbach 130-139 

Davis & Co Art Gallery 56-57 

Dawn Reinfield 148-149 

Debora Latham 104 

Deborah LaFogg Docherty 78 

Denise Bossarte 154 

Deran Wright 104-105 

Diane Whitehead 150-151 

Ed Crumley 106 

Elaine Vileria 74 

Felicia Marshall 172-173, 174 

Georgene McGonagle 78 

Isabelle Gautier 26 

James Loveless 106 

Jana Kappeler 9 

Janet Broussard 4, 107 

Joan Eure 107 

John Whitton Bria 22-23 

Jonelle T. McCoy 14 

Judy Mackey 94-95, 108 

Judy Wilder Dalton 24, 109, 121 

Kathleen Kirch 79 

Kay Wyne 174 

Kelley MacDonald 175 

Kim Roberti 175 

Kimberly Conrad 146-147 

Kristine Byars 120 

Kristine Kainer 108, 168-169 

Kyle Wood 110-111 

Lady L 98-99 

Laurie Justus Pace 62-63, 113 

Leada Wood 114-115 

Lelija Roy 25 

Leslie Sealey 27 

Linda Eppinger Johnson 78 

Lisa McKinney 140-141 

Logan Bauer 18-21 

Mark Schwartz 174 

Mary Jo Zorad 122-123 

Mary Lou Pape 79 

Melissa Torres 112 

Michal Ashkenasi 16-17 

Mirada Art Gallery 12-13 

Nancy Medina 101 

Nathalie Kelley 177 

Palette Knife Painters 144-145 

Patsy Lindamood 112 

Pokey Park 79 

Rainer Andreesen 3, 34-55, 57 

Rebecca Zook 119, 142-143 

Reenie Kennedy 79 

Ria Hills 175 

Richard Levine 8, 

Richard Lewis 80-91 

Roberta McGowan 10, 96-97 

Roseanne Snyder 30, 116 

Sanda Manuila 75 

Sara Genn 11 

Scott McIntire 76 

Susan Ketcham 77 

Suzy Pal Powell 116 

Texas Trails Art Gallery 92-93 

Theresa Paden 175 

Valerie Travers 32-33 

Vernita Bridges Hoyt 117 

Vicki Rees 31 

Vincent Wray 156-165 

Vino Dipinte Art Gallery 166-167 

WAOW 78-79

Nathalie Kelley 

“Christmas Candy” 8 x 10 

“Blowing Off Steam” 

nathaliekelleyart.com

VL 

visuallanguagemagazine.com

Visual Language Magazine Contemporary Fine Art Vol 3 No 12 December 2014

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