Visual Language Magazine Contemporary Fine Art Vol 3 No 1 January 2014

VL 

V I S U A L L A N G U A G E 

contemporary fine art 

features 

YANNI 

Elizabeth Chapman 

Slav Krivoshiev 

Sallie-Anne Swift 

Carol Nelson 

Katharine Cartwright 

VL 

January 2014 Volume 3 No. 1 

Corey West 

CoreyWest.artspan.com 

VisualLanguageMagazine.com - VL Magazine | 1

VL 

VISUAL LANGUAGE 

Contemporary Fine Art 

VisualLanguageMagazine.com 

Subscribe Free Today. 

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January 2014 Vol 3 No 1 

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2 | VL Magazine - VisualLanguageMagazine.com

COREY WEST 

The Line Drawn 

The stories in my art are about my life specifically but because I don’t always tell that story 

in detail it is really about all life. We all have a story and while it is unique, there are elements 

of it that are familiar to all of us. The images come from bits and pieces of my life 

and even some of the colors and patterns I use are reminders of the events taking place at 

the time I create a piece of art. 

VL Cover Artist 

coreywest.artspan.com 

artspan 


Steven DaLuz 

“Vortex”; 36” x 36”; oil, metal leaf on panel, © 2013 by Steven DaLuz 

StevenDaLuz.com 


content VL 

Cover Artist Corey West 3 


The stories in my art are about my life specifically but because I don’t always tell that 

story in detail it is really about all life. We all have a story and while it is unique, there are 

elements of it that are familiar to all of us. 

Painter’s Keys - Robert Genn 11 

CFAI Colors on My Palette 30 

Andy Smith 

Read the up close and personal interviews from CFAI. 

co Find out more about the artist, their inspirations and 

how they approach their work. 

VL Artist Features - 34 

Rod Seeley, Barbara Haviland, 

Vanessa Katz, Corey West, 

Annie O’Brien Gonzales, Linda Bein 

VL/Artspan Studio Visit 

with Elizabeth Chapman 54 

I’ve always loved art. A strong passion for creating 

my own art begun and grew during the years that 

I worked as a high school art teacher. Through the 

encouragement of others I began to see the artist 

within me. Intuitively, I knew that I was an artist first 

and foremost. This required a huge step in faith in 

order to pursue working independently as an artist 

and to believe in myself. 

ARTSPAN New Works - 50 


Interview with YANNI 70 

The Greek way of living has been within me up until 

I was eighteen, and I have definitely been Americanized 

very well. However, I feel I belong to none. 

I always say I’m a human being first. . 

VL Gallery Visit with Russian Artist 

Slav Krivoshiev 78 

Author of the “Mythological Constructivism” concept – a 

style in the modern art. 

VL Studio Interview with Carol Nelson 92 

I wasn’t always an “artist.” I put that word in quotes because, to 

me, an artist is one who works at his or her craft diligently every 

day. Besides spending time at the easel, in today’s times, being 

an artist also involves networking, researching, marketing, and 

spending a great deal of time on the computer. It is far more 

involved than sitting at your kitchen table and painting a pretty 

picture once in a while. 

ARTSPAN Spotlight with Katharine Cartwright 112 

My parents recognized I was an artist before I entered kindergarten, and 

provided me with opportunities to learn about color theory and design 

beginning at age 3. Therefore, I’ve always self-identified as an artist and 

have never lost my love for creating art. 


content VL 

VL Studio Visit with Australian Artist 

Sallie-Anne Swift 128 

Sallie-Anne says she has graduated from realism 

art to produce fine abstract art pieces and believes 

her formal art training and many years of illustration, 

painting and working as a graphic designer play 

in big part in her finished pieces. 

. 

VL Barry Scharf 142 

Abstract in Painting, A Personal View 

Artists spend a lifetime trying to define their style and 

approach to the canvas. This is not a frivolous venture; 

the struggle is real and often hard to understand. 

VL Photographer Tom Peterson 166 

Many of my photographs focus on an abstract view 

of every day structures and close-up subjects we 

often pass by, but rarely notice. My objective is to 

find and photograph the uncommon within the 

commonplace. . 

CFAI.co Art Challenge 176 

Best of Show - Barbara Mason , First Place - Kay Smith, 

Second Place - Kristine Kainer, Third Place - Tatiana Roulin 


Artist of the Day 

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

Sign up today. 

Kimberly Conrad 

“Art and music are to my soul, as food and water are to my body. I believe that they are two of God’s most 

precious gifts to His children. As the author and giver of creativity, through these gifts, He has given us a 

portion of Himself. He created the very first canvas, magnificently painted it, and brought it to life” I am a 

full time artist, dividing my time between painting and teaching in my Colorado studio. Having painted on 

most every surface imaginable, at this time I work primarily on canvas, board, and paper. Though my style 

remains quite diverse, I believe I have the heart of an Abstract Expressionist, or even more accurately, an 

Action Expressionist, as I am most definitely an “action painter”. 

http://kimberlyconradfineart.com 

artistofthedayvl.blogspot.com 

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

VisualLanguageMagazine@gmail.com 


Carol Jo Smidt 

www.caroljosmidt.com 

VisualLanguageMagazine.com - VL Magazine | 9 

carol@caroljosmidt.com

VL 

VISUAL LANGUAGE MAGAZINE 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

Editor -in-Chief Laurie Pace 

Executive Editor Lisa Kreymborg 

Consulting Editor Nancy Medina 

Consulting Editor Diane Whitehead 

Consulting Editor Debbie Lincoln 

Feature Contributor Robert Genn Painter’s Keys 

CFAI Contributor Kimberly Conrad 

Feature Editor Art Reviews Hall Groat II 

Feature Writer Barry Scharf 

Feature Writer David Darrow 

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 1 

RodSeeleyArt.com 

KimberlyConradfineart.com 

LauraReed.artspan.com 


Painter’s Keys 

with Robert Genn 

Claim your Rival 

December 3, 2013 

Dear Artist, 

Robert Genn’s 

Studio Book 

Painterskeys.com 

Ferrari driver Niki Lauda was Formula One’s World Champion in 1975, 1977 and 1984. Ron Howard’s 2013 

feature film Rush explores the relationship between Niki and his rival, English driver James Hunt. “A wise man 

can learn more from his enemies than a fool from his friends,” says Niki in the film. He reminds us that rivalry 

can be a powerful source of innovation. When used for a positive outcome, it’s called a productive rivalry. 

Creative folks can use this system. 

The management consulting firm McKinsey and Company suggests that companies in search of creative bursts 

refer to the rivalries that catalyzed artistic innovation during the Italian Renaissance. In a relatively short 

period of time the Italians invented linear perspective and modern-day portrait painting. They made startling 

innovations in sfumato and chiaroscuro that continue to influence painting to this day. As well as strides in 

glassblowing and bronze casting, Italian architects and craftsmen produced the world’s largest masonry dome. 

In Renaissance Italy, those who competed for patronage, commissions and prestige produced better work. To 

today’s artistic sensibility, it might all sound a bit uncomfortable. In modern times we are often encouraged 

to protect our ego-force and individuality by securing a private world in which to develop our unique artistic 

voice. Many artists find themselves solo-paddling along a private and unchallenging river. 

Painter’s Keys - Robert Genn 

Could rivalry be a productive system Here are some thoughts: 

Study the processes and methods of those who are better at it than you. Even though you’re the resident genius, 

you can bet your last Lira there’s someone who knows something you don’t, who has honed a skill more than 

you have. Rival your rival. 

Know your space. In 1506, Pope Julius II commissioned Michelangelo to paint the ceiling of the Sistine chapel. 

Originally, portraits of the Twelve Apostles were proposed. Michelangelo countered with a grander scheme 

portraying humanity’s need for salvation. Michelangelo stuck to his vision and Julius finally agreed. Your rival 

may be your boss. 

Stretch your goals. Media mogul, conservationist and philanthropist Ted Turner, not exactly an Italian, lived 

by his father’s words: “Never set goals you can reach in your lifetime.” In other words, think big and think far 

off. Your real rival is Time. 

Sincerely, Sara 

P.S. “He who falls in love with himself will have no rivals.” (Benjamin Franklin) 

Esoterica: In Michelangelo’s day, the term closest to rivalry was paragone, which translates as “comparison.” 

Not meant to diminish, but rather to push to greater heights, its goal was to generate respect and passionate 

striving. As a result, those Renaissance guys were up in their studios late at night wearing out their chisels and 

brushes. In 1515 the young Raphael was commissioned by Pope Leo X to design a few tapestries for the lower 

walls of the Sistine Chapel. Knowing they would hang directly below Michelangelo’s ceiling, Raphael knocked 

the bocce ball right out of the court. Raphael’s Sistine tapestries set a standard for all tapestries yet to come. 


valerietravers.com 


Valerie Travers 

Captivated by the melody of nature. 

Beneath the Surface 

Ebb and Flow 

Working in Acrylic, Oil Pastel, Mixed Media Landscapes, 

Seascapes, Abstracts, and Florals 

valerietravers.com 

Left: Feelings of Love 


14 | VL Magazine - VisualLanguageMagazine.com 

BarbsGardenArt.com

Barbara 

Haviland 

BarbaraHavilandFineArt.com 

BarbsGarden.blogspot.com 

BarbsGardenArt.com 


BAUER 

Logan Bauer 

LoganBauer.com 

Landscapes, Life Drawings, Still life, Figurative Portraits. 


LoganBauer.com 


AspenSPACES by Lelija Roy 

Art on a Whim Gallery 

Breckenridge and Vail, CO 

www.artonawhim.com 

lelija.net 

James Ratliff Gallery 

Sedona, AZ 

www.jamesratliffgallery.com 


Linda McCoy 

www.lindamccoyart.blogspot.com 

Linda McCoy Studio/Gallery 

Fine Art Instruction 

209 S West Street, Mason, Ohio 


Mark Yearwood 

“Tactile Impression” 12’’x12’’ Mixed Media/Panel 

Available at: 

Veronique Wantz Gallery 

125 N. First Street 

Minneapolis, MN 55401 

612-254-2838 

www.veroniquewantz.com 

MarkYearwood.com 


Dyan Newton 

dyannewton.com 


Mirada Fine Art 

‘Best Art Gallery’ 

-5280 Magazine, 2010 & 2012 

‘A Style-Maker’ 

-Luxe Magazine, 2010 

‘Best Colorado Gallery’ 

American Art Awards, 2012 & 2013 

‘Art Lover’s Escape’ 

-Denver Life Magazine 2010 

‘Best of Denver’ 

-Westword Newspaper, 2010 

miradafineart.com 


5490 Parmalee Gulch Rd. 

Indian Hills, CO 80454 

(only minutes from Denver) 

www.miradafineart.com 

303-697-9006 

Featured Artiss: 

Andrew Baird, Pablo Milan, Lyndmila Agrich, 

miradafineart.com 

Jeanne Bessette, Svetlana Shalygina, Laurie Justus Pace 

VisualLanguageMagazine.com 

Bruce Marion, Time Howe, 

- VL 

Allen 

Magazine 

Wynn 

| 23

Carolyn Hancock Pastels 

expressive figurative art 

carolynhancock.com 


“Artistic exposures one frame at a time” 

connie dines 

Waiting To Cross The River - Working Horse Series 

Selected for the National Western Stock Show 

One of The Featured in the Cattleman’s Club for the 2014 Show, 

Please see my website for the five images in the show. 

artfulexposures.com 


Nancee Jean Busse 

Painter of the American West 

See NJ Busse’s profile in the November issue of Western Art Collector Magazine. 

Back to Bosque 

www.nanceejean.com 

26 | VL Magazine njovmc@gmail.com 

- VisualLanguageMagazine.com 

www.facebook.com/nanceejeanbusse 

970.261.2028

Shirley Anderson 

Painting Landscapes and Florals in Pastel 

Colorful. Sensitive. Bold. 

Winding Path 

Sunlight and Shadow 

Lighthouse 

Covered Bridge 

Under the Trees 

shirleyandersonart.com 

vlrees.com 

email: sranderson0930@sbcglobal.net 



Kay Reinke 

“Many of my paintings can be described as being in the genre “abstract realism,” that is, taking 

a real object or scene and abstracting it. This allows for the viewer to put him or herself in the 

scene in a way that doesn’t restrict the imagery to a single location or time. I want my paintings 

to suggest experiences and feelings in a way that sparks viewers’ imaginations, draws 

them into the paintings and makes them want to stay.” 

kayreinkeart.com 

Left Page: Dancing in the Streets 

Above: Texas Heat Wave 


CFAI.co Colors On My Palette 

Andy Smith 

http://andysmithartist.com 

http://www.cfai.co/#!colors-on-my-palette-interview/cy2z 

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

At a young age I realized I saw things differently than others. I could 

always draw and was interested in art and illustration. After bouncing 

around a bit I settled on becoming a working artist in my 20’s. 

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

I am from Wyeth country, so I guess I must admit to being fascinated with both N.C. and Andrew. Although 

Homer is my man! I must also acknowledge my supportive parents. 

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

I would not say mentor as much as partner. When I married I claimed I wanted to paint for a living... first 

she said I needed to get a lot better! 

But quickly encouraged me, set up the busines, and arranges my life so I am free to paint. I have been 

fortunate enough to be a full-time artist for 35 years. 

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

Normally I would say Arches however I recently switched to Kilimanjaro 300lb cold press paper. 

What brand of paints do you use 

I use Da Vinci watercolors 

Do you have a favorite color palette 

I have an earthy pallette. Almost every painting has a yellow ochre under wash. 

What is your favorite color in your closet 

Not sure, I really don’t dress myself! 

How often do you paint How many hours a week 

Every day, most of the day. I belong to “A Painting A Day” and try to do a miniature four days a 

week. But I also always have a larger painting on the board. 

How would you like to be remembered 

As a Man, I would like to be known for my honesty, integrity and faith. As a husband; faithful, 

kind and supportive. As a father; encouraging and dependable. As an artist; a good work ethic, 

always aspiring to excellence. As someone who really understands watercolors. 

Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z 


Read more at http://www.cfai.co/#!colors-on-my-palette-interview/cy2z 


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 200 Specialty Art Blogs to choose to post on. 

• Monthly Art Challenges at discounted rates. 

• Quarterly Juried Shows at discounted rates. 

• Eligibility for inclusion in the Annual Collectors Book 

www.cfai.co 


Caroline Ratliff 

Original oil and pastel landscapes of the west 

Gulf Spray 

Capturing the Essence of Nature 

CarolineRatliff.com 


VL Rod Seeley 

RodSeeleyArt.com 

Vibrant Digital Creativity 

Rod Seeley is a self taught digital artist that is always pushing his creative boundaries 

through his unique “Stylized Digital Fractal Art” creations. My passion is utilizing creative 

shapes and vibrant colors combined with dozens of special techniques to create truly 

unique artwork. Many of my pieces are enhanced using a customized digital paint (oil) 

technique and customized filters. My artwork is designed to be done on high gloss metal in 

a metal shadow frame which adds an additional visual dimension to the artwork. 

In 2012 Mr. Seeley started entering juried international exhibitions and has won awards 

for his work. His artwork has also been included in the Museum of Computer Art and The 

International Art Guide – “Abstract Art Showcase”. His artwork also appears in Volume VII 

– “International Contemporary Masters” a Juried art publication. 

His artwork also been exhibited at ArtExpo New York 2013, Spectrum New York 2013 and 

Spectrum Miami 2013. 

Each small image is a Fractal Creation 

and is part of the final piece of larger art 

next to it. 

This is Stylized Digital Fractal Art. 

Liquid Look 

Insert for Liquid Look 


Insert for Believe 

Believe 

Insert for Prospective Vision 

Prospective Vision 


VL Barbara Haviland 

BarbsGardenArt.com 

Capturing the Blooms of Her Garden 

Barbara Haviland has been creating art for over 30 years. She is an accomplished artist, painting 

mostly in oils,in bold rich colors that express her enthusiasm for painting. She is mostly 

self-taught but has enjoyed many workshops with nationally known artist with more experience. 

“I make my own worlds with my favorite tool: my brush. It is like reading a book: I can go anywhere,”states 

Barbara, who feels that painting fills her with joy and passion. Landscapes of the 

bayous are her subjects of preference,as she duplicates nature that is nearby,along with the 

wild flowers and animals. 

Barbara is a member of Artists of Texas, Oil Painters of America, ALA/Gallery by the Lake, Outdoor 

Painters Society, Port Arthur Art Association, Lone Star Art Guild and EBSQ Art. 

www.Barbsgarden.blogspot.com 

www.BarbaraHavilandFineArt.com 

www.BarbsGardenArt.com 


Iris 24 x 36 Oil

Blue Bayou 12 x 12 Oil 

Magnolia 20 x 16 Oil 

Autumns Challenge 12 x 12 Oil 

Lilies 12 x 16 Oil 


VL Vanessa Katz 

vanessakatzart.com 

Expression 

Vanessa Katz was born in England and now resides in sunny California where the sun 

makes everything appear more colorful and vivid to her. 

She attended Putney School of Art in London and continued her education with many 

classes and courses and has won awards and had solo exhibitions and works as a full 

time artist. 

She originally worked creating still life and representational pieces although she now finds 

her preference is to work in a very abstract way as it gives her the freedom to express 

her emotions and she hopes to evoke emotions through her work to her collectors. She is 

fascinated with shapes, colors, textures, movement and the shape between the shapes, 

nature (the richness, color and texture of the soil) and trees (the movement, how the light 

catches and changes) and this is evident in her work. 

Now that she lives in the desert in Southern California she is inspired by the contrasts that 

are created by the bright sun and her 360 degree mountain views. The light, shadows 

and colors change constantly providing a richness and diversity to stimulate her creative 

process. She is inspired by everyday observations, feelings and life experiences in general 

and by the works of such artists as Rothko, Pollack, Van Gogh, Kandinsky and many 

others. 

She works on canvas and paper with many mediums of acrylic, oil, ink and texture building 

materials and likes to work building up many layers to create richness, depth and texture. 

Delilah by Vanessa Katz 


Falling Waters by Vanessa Katz 

Is It Cloudy or Bright by Vanessa Katz 


VL Corey West 

coreywest.artspan.com 


My love for art began at such a young age, I honestly don’t remember. It has just always been part 

of who I am. I grew up in a family of very skilled wood workers, designers and painters so it was 

normal to spend a day painting with my grammy or watching my dad build something. As an adult 

my dad encouraged me to go to school, for anything other than art, as he wanted me to choose a 

career that “made more money”... I went to school for art anyway. Since art school I have worked 

very hard to create a style of abstract work that is my own, which was a challenge for me and took 

several years to get it to a place where the results said what I wanted it to say. I am in love with 

the drawn line, texture and pattern. I wanted work that when people saw it there was no mistaking 

who the artist was. 

My work is life based, not completely non objective. I grew up in a very traditional, conservative 

community so just creating abstract work at all was a break from everyone around me. I wanted 

to leave the viewer room to connect to the work on a level deeper than just recognizing the image 

and loving it because it was a favorite flower or animal etc. I want the viewer to see the love I 

have for what I am doing and connect to the work based on the emotion put into the work itself. I 

love all art and do paint representational work as well, but my heart is in painting my mixed media 

abstract work. 

The stories in my art are about my life specifically but because I don’t always tell that story in detail 

it is really about all life. We all have a story and while it is unique, there are elements of it that are 

familiar to all of us. The images come from bits and pieces of my life and even some of the colors 

and patterns I use are reminders of the events taking place at the time I create a piece of art. 

13849 Mono Way 

Sonora, CA 95370 

209-352-7943 

coreywest.art@gmail.com 


Left: Morning has broken: 48x36, Mixed Media Canvas 2013 

Right Page Left Top: End of the Tunnel: 40x30, Mixed Media Canvas 2013 

Right Page Left Bottom: Dreams: 18x20, Mixed Media Canvas 2013 

Right Page Right Side: Visitor: 48x12, Mixed Media Canvas 2013


VL Annie O’Brien Gonzales 

annieobriengonzales.com 

Vibrant 

“Annie O’Brien Gonzales’ vibrant stilllife, landscape and abstract paintings have graced the walls of 

Santa Fe’s Matthews Gallery (http://thematthewsgallery.com) since 2010, and have made their way 

into private collections across the country. This winter Gonzales received yet another honor with her 

museum debut—New Acquisitions from TAM’s Permanent Collection at The Art Museum of Eastern 

Idaho. She teaches workshops at the Georgia O’Keeffe Museum, Ghost Ranch and in her studio 

on Upper Canyon Road in Santa Fe. For more information: http://www.annieobriengonzales.com”. 

Acequia #1 


Tulipmania #5 

Alegria #1 


VL Linda Bein 

lindabein.blogspot.com 

Texas Contemporary Artist - The Art of Nature 

Although Linda likes to experiment with various media and techniques, transparent water 

color is her primary media. Her love of the earth and Mother Nature are reflected in her 

works, even abstracts turn into trees and countryside. Even though Linda is predominately 

a landscape artist she enjoys painting different subject matter using a wide variety of materials. 

Recently she has been experimenting with equine subjects. Linda’s belief that we 

as people are forever changing and growing is carried through her art with different media 

and subjects. To stay the same would be… to be left behind. 

Linda reserves a portion of her day to share her love of art with children and adults at The 

Bein Gallery’s Kids Art in Southlake Studio. Students experiment with pencil, pastel, acrylic, 

watercolor, paper mache, clay, carving, and just about any form of art we can touch, 

feel and work with. 

www.lindabein.blogspot.com 

www.kidsartinsouthlake.com 

#306 Winter Lights 


#467 Shy Gal 

#468 Takin’ a Dip 

#143 Silver Forest 


L A U R A R E E D 

Life Experiences 

laurareed.artspan.com 


Abstract Collage Paintings 

laurareed.artspan.com 


Laurie Justus Pace 

Ellepace.com 

Above: Losing Direction 30 x 40 inches Oil on Canvas available through MiradaFineArt.com 

Right: Intent 24 x 30 inches Mixed Media on Canvas availalbe RobertKellyHome.com 

Mirada Fine Art. Denver 

MiradaFineArt.com 

Rare Gallery. Jackson Hole 

RareGalleryJacksonHole.com 

Robert Kelly Home. Park Cities 

RobertKellyHome.com 

South Hill Gallery: Lexington 

SouthHillGallery.com 



artspan 

Newest Works 

Cynthia J Lee 

http://cynthiajlee.com 

Michael L. Pittman 

http://pittmanfineart.com 

Rod Wimer 

http://providencegallery.net 

Laura Gibbs 

http://lauragibbs-studio.com 


ALAN SOFFER 

#1 Militarized Demilitarized, 32x32, Encaustic 

reality of mind and spirit in wax, oil, and acrylic 

Retrospective @ Villanova U. March 2014 

Soffer organized 1st national ENCAUSTIC conference in US 

Autobiography: I Never Owned a Lawnmower @ lulu.com/spotlight/alansoffer 

AlanSofferArt.com 


TATIANA ROULIN 

Tatiana Roulin 2 

pages 

www.3dmirror.com/artonwood.htm 


TATIANA ROULIN 

Representational Fine Art 

Oil and Pastel painter from New England 

www.3dmirror.com 


VL 

VL Artspan Studio Visit 

Elizabeth Chapman 

Texture and Color Equal Time 

http://melizabethchapman.artspan.com/ 




VL 

Studio Visit Elizabeth Chapman 

ADVENTURE...in one word that would be how I would describe my love for painting abstracts. There 

is the original inspiration or spark that sets the whole process in motion, with the belief that a wonderful 

work of art will emerge, yet navigating without a plan. Think going on a vacation without an 

agenda! The challenge is in responding to each new element that emerges on the canvas, capturing 

a sense of beauty through the use of color, shape, line, values and texture. Realizing that this is all 

but a glimpse of the bigger picture. 

As a modern abstract expressionistic painter, I work intuitively, quickly making decisions as I am 

painting with each new mark leading to the next idea. The initial inspiration for a painting can come 

from many different sources, but once begun, following the creative flow is important to me. My work 

is always in the process of evolving as I grow as an artist. Many times the hardest part of this growth 

is in the letting go. 

Jewel Acrylic 12”H x 16”W on Heavy Watercolor Paper 



artspan 

Allure 

30”H x 40”W x 1.5” Acrylic on Canvas 

I’ve always loved art. A strong passion for creating my own art begun and grew during the years that 

I worked as a high school art teacher. Through the encouragement of others I began to see the artist 

within me. Intuitively, I knew that I was an artist first and foremost. This required a huge step in faith 

in order to pursue working independently as an artist and to believe in myself. 

A verse from God’s word that was given to me in those first days and is still tacked to my studio board, 

spoke to my heart in strengthening me for the task. It reads: Do not despise these small beginnings, 

for the Lord rejoices to see the work begin, to see the plum line in Zerubbabel’s hand. Zechariah 

4:10 I am often lifted up by these words- in that they speak to me about using the talents that have 

been given to us. Success is in realizing the way that each of us are made and in working to the best 

of our abilities. 



VL 


ChiChi 

Mixed media 22” x 30” Heavy Watercolor Paper 



artspan 

Inspira Acrylic 36” x 36” Wrap Canvas 



VL Studio Visit Elizabeth Chapman 

Baroque 

30”H x 40”W x 1.5” Acrylic on Canvas 



artspan 

Ultramod 

Acrylic 40”H x 60”W x 1.5” Wrap Canvas 



VL 


Wanderlust Acrylic 

36” x 36” x 1.5” Wrap Canvas 

Emminence Acrylic 30”H x 40” Wrap Canvas 



artspan 

Mien Mixed Media 22” x 30” Heavy Watercolor Paper 



VL 


Softwood 

Acrylic 48” x 48” x 1.5” wrap canvas 



artspan 

I am very thankful for the support I have received from my family, friends, fellow artists and last 

but certainly not least those who have financially invested in my efforts. For all these people have 

played a role in supporting the arts. 

“It brings me much joy just to be the brush in the Master Painter’s hand and to realize that His creations 

are made to bring great joy to all.” Elizabeth Chapman 



REES 

Vicki Rees 

Wrightsville Twilight, 2013, 24 x 24 

www.vlrees.com 


Vicki Rees 

Woman in a Blue Dress Water Media 9 x 7 inches 

Connie Chadwell 

ConnieChadwell.com 

conniechadwell@hotmail.com 



Amelia Currier 

www.ameliacurrier.com

View From Hikshari Trail-Eureka 

KATHY O’LEARY 

FINE ART 

Contemporary Realist Painter Working in Oils 

KathyOleary.com 


VL Hall Groat II 

Francine Butler: After living in the United States for twenty-eight years and becoming an American citizen, 

would you consider yourself more Greek or more American 

Yanni: That’s a great question. People ask me this quite often. Both civilizations are unique. The Greek way of 

living has been within me up until I was eighteen, and I have definitely been Americanized very well. However, 

I feel I belong to none. I always say I’m a human being first. This is a very important point for people to get. We 

grow-up in different countries—and it tends to determine our religion and the way we think. Only if we travel 

outside the country, spending considerable amounts of time is when we become open-minded, and look at other 

ways of living and thinking—then can we then begin to realize how similar we all are. 

I heard that you moved to the East Coast recently. What prompted a move like that 

Yanni: I wanted to find a place in the United States that had the type of climate that was very similar to the one 

in southern Greece where I grew up. This part of south Florida is as close as I can get! 

How do you explain that you are one of the very few artists in the world that has such universal appeal 

Yanni: It is very difficult to explain. I can only speculate. I try to tell the truth with music. I do not contrive 

music. Since it is instrumental music for the most part I am asked to describe an emotion with notes, rhythms, 

melodies and sound. I only talk about emotions that I know of, and the only ones you know are the ones that 

you have experienced. I think because of that I connect with a fairly large audience around the world because 

the emotions are similar from culture to culture. Our ways of life may be different but the emotions are similar 

in human beings. So if your art is based on emotion you should be able to communicate pretty well. That is the 

theory and it seems to be working. 

What have you discovered as you’ve traveled the world 

Yanni: It teaches you to be more open-minded and less judgmental. It also may point things out that you don’t 

like about yourself—or about your culture where things could have been done better because you saw something 

that you enjoy more or that you think is more correct. It aids a lot in personal growth. 

What inspires you to create music Yanni: Life. I live life and I am moved by life. There is a reason to speak and 

the way I speak is by using notes instead of words. The reason why I traveled so much for the past couple of years 

was that I was having an opportunity to live. I have been working so intensely for the past decade or so that I 

neglected my needs or my well being for what ever was necessary to be done. There is an incredible amount of 

traveling from country to country and it was a lot of work to put together these concerts. So I needed to just 

learn and grow. Once your experiences in life increase – the music is there. There is no such thing as a writer’s 

block. I think that is an illusion. I think you stagnate. If you stagnate as a human being your art stagnates with 

you. If you progress your art will progress with you. I feel that who you are determines what you will create. What 

your depth of understanding about life is, what your experiences are will determine that subject matter you will 

address and how you will address it. 

HallGroat.com 

Yanni: If I Could Tell You 

Yanni Interview 

Reprint from 2001 New York Art Guide, copyright©2001 Hall Groat II, Publisher 

Francine Butler, Interviewer 


What are your unfulfilled professional goals 

Yanni: Right now it seems like it is a very simple goal but it is extremely difficult for like myself. I want to be happy. 

That’s all I want. Ever since I was a kid I had these dreams of creating music that would be heard all over the 

world which seemed impossible at the time. I have accomplished these goals and I have experienced these kinds 

of dreams and I have surpassed even my own expectations. So I want to continue living and be happy in my life 

and grow. I think my art will continue being alive as long as I am. 

Are you happy right now 

Yanni: Yes, very! But it took a while. It is very difficult to communicate with the public and my friends. My life 

has been in such high gear for such a long period of time that ultimately you become brainwashed. When you 

work sixteen-hour days-when you don’t care when your birthday is or if it is Christmas. You’re going on high 

adrenaline with incredible pressure—and you’re just trying to maintain your sanity—so you don’t burn out—you 

just try to survive this. Then all of a sudden one day-you do the last concert and the next day you wake up and 

you say, “Okay, you are free. What would you like to do today” There’s an emptiness that sets in. And it seems 

like not a lot of things can please you. That is a very scary place to be at. I’ve been there. I’ve experienced it and 

that is why I tend to understand why certain famous people tend to go into drugs and alcohol. It is a hiding 

place for them. The problem is, no drugs or alcohol could ever fill that. The only way you can do it is by going 

in it, feeling it and finding your way out. I found my way out by going back home to Greece, clandestinely mind 

you—nobody knew that I came into the country. I went straight to my mom and dad’s house brainwashed. When 

you the place where I grew up and I stayed there—living a very mundane, boring life—at least it seemed boring 

at the beginning. I did not leave until it was not boring anymore. When I woke up one morning and I loved the 

sunrise again, thinking how gorgeous the ocean was wanting to go in—finding beauty and enjoying the simplicity 

of life, then I thought “you are healed, you are allowed to go out again”. So I’m very happy right now. It is a 

good time in my life. 

HallGroat.com 





You have mentioned that you are able to hear the music you create in your mind. Mozart was like that and a few 

visual artists have had this gift also like Picasso who was able to paint images from his imagination. Do you think 

there is a connection between you and these types of artists 

Yanni: I think there is a connection between them and all artists. I think that the creative process is the same 

for everyone of us. It’s a place—a mindset. Athletes sometimes experience this area—they call it the zone. It is a 

mindset or a place that when I’m in it—all music is available to me. I just don’t hear one song, I can hear as many 

songs as I chose to turn my attention on. So my problem in the studio is when I get into that space, it is choosing 

which piece I want to bring down to reality. My mind just flies. I have so much fun imagining these pieces that 

are playing in my mind. It is a miraculous, magical place. It happens to you. It is the same place where you go 

when you write. When you are looking at a white piece of paper with nothing on it. How horrible is it when you 

try to logically figure out what you want to write, and how difficult it is and the words don’t come. But then there 

are these miraculous moments in time where you just know what you want to write—it just flows. It is a very 

similar place. 

Do you think more people could be more creative if they tried to tap into that zone 

Yanni: Absolutely! I think that is the key, but no one in school or college has attempted to describe that place or 

tried to teach people how to get there. Everyone can. This is not a specific talent to me. Everyone is creative. Little 

kids are creative. But we are never trained. We are not taught, and we do not spend enough time looking for it. 

The way I discovered it was by writing music. Doing it the painful way of writing music one note at a time starting 

as a youngster. That process trained me to focus. At the beginning maybe I had those moments of inspiration 

that lasted for five seconds and then they were gone. Then I could be sitting in front of my keyboards for a week 

with nothing. Now I can do it for hours at a time because I have been doing it for years and years. So I know exactly 

what I need to do, and one of the things I do is block the input. For example, I don’t watch television, I don’t 

listen to the radio, I don’t answer the phone. The day to day living is so stressful and quick now. I can’t imagine 

myself getting up at seven in the morning, going to work in a factory until five, then coming home and being 

creative. At that time you have been bombarded so intensely by the outside world that all you want to do is hide. 

If you are in the Arts—painting, writing, music—it is exactly the same process. All you need to do is just block 

the input. You will hear yourself talking in a little while you just have to be patient. And Westerners are not really 

trained on “how to do nothing”. We are not trained on how to be alone, how to be in a room with no music, no 

TV and no one to talk to. It tends to drive us crazy. But in silence is where you find music. 

Since you create such beautiful music my personal guess is that you appreciate all types of beauty in the Arts. 

Who is your favorite visual artist 

Yanni: There are a lot of them. I saw an extraordinary exhibit of Pablo Picasso in Cologne, Germany. When I 

was a kid a I liked Dali believe it or not. People find it strange. I like beauty. My favorite painter of all time is Michelangelo. 

He is my favorite sculptor also, other than the ancient Greeks— the people who built the Parthenon. 

HallGroat.com 


Let’s talk a little about your new album If I Could Tell You. It is your first studio album in seven years after your 

two-year sabbatical. How is this one different from the ones you have done before 

Yanni: The past couple of albums were concert albums. I felt that they made really good concerts but the albums 

may have been a little too dramatic. The difference between a concert and someone listening to an album at 

home is that in a concert you sit down and the lights go out, and you can’t talk to anybody for two and a half 

hours. When I’m doing a concert I have to take this into account. So I have to make it dramatic and exciting 

to maintain your interest for two and a half-hours, which is an incredibly long amount of time. This past one I 

didn’t have this problem so I feel it is a little more even tempered. I think it is more cohesive as an album and I’m 

hoping it will be more pleasurable to listen to. I personally like it a lot. I think it is one of the best albums I have 

ever done and I feel it has a place in people’s hearts and in people’s life’s. I think there is going to come a time 

during the day or the night where this album will be appropriate to hear. When I went into the studio to begin 

doing this new album, I went in not really knowing if I was going to have any new music. I had promised myself 

if I felt that the music that I wrote was similar or too close to whatever I had done in the past couple of albums 

that I wouldn’t release it. I was taken out a couple of years until I had something new to say. Much to my surprise 

it was one of the most effortless albums to create. It just came out. I guess I was ready. You once said “ That you 

know when an album will be useful in people’s life’s since you know what the emotional content is.” 

What is the emotional content of your latest album 

Yanni: There are a lot of different emotions that I deal with there. My problem is I traditionally do not try to 

explain my songs. It is one of the reasons that I choose instrumental music. To back track right now trying to describe 

and explain what each song means emotionally with words is next to impossible for me. I feel the accuracy 

of the emotion is in the piece when you hear it. If I have done my job correctly you will feel it. 

In listening to it there seems to be a variety of cultures that have influenced you. Is that true 

Yanni: Absolutely. I think in this album you will hear influences from Asia, the Middle East, South America and 

from Africa. 

Wishing Well-that’s from Africa, right 

Yanni: Absolutely. You were in New York City when your album debuted on October 3rd. 

Why did you choose New York City 

Yanni: I think that that is the most important city in the U.S. I love the people up there. I have always come to 

New York when I do a tour and I love the audiences. I have a lot of fans in New York City. I have to come there. 

What’s next for you in your immediate plans 

Yanni: Right now I will promote the album for a little while. We are discussing plans for a world tour at the 

beginning of next year. But I am not sure exactly when, or if we are going to start out in the U.S. or in Europe. 

Is the highlight of your career performing at the Acropolis 

Yanni: I have to say yes—not because other audiences or other places were not just as exquisite as the Acropolis. 

The Acropolis is significant for me because it was a Greek boy coming home to show his friends and family what 

he has been doing in his life. That makes it the most special place for me. 

HallGroat.com 





What are your unfulfilled personal goals 

Yanni: As soon as I find them I will let you know! Right now, I look for simplicity. I just want to be happy. I don’t 

have any grandiose goals anymore. I think with all the things I have gone through in my life and whatever small 

influence that I have from all the work I have done is that I would like to use it to do good in society in some way. 

I want to be a contributing member of society. I feel that I have a responsibility to my fans and the people who 

enjoy my work. The reason why I am here is because I have millions of people who support me as an artist. That 

is why I am able to keep doing what I do. I have a responsibility to all these people to act appropriately and to 

use this recognition that they have given me correctly. I am open to goals in other words. They will appear. There 

are plenty of places to apply your energy and to do good and you can’t talk to anybody for two and a half hours. 

When I’m doing a concert I have to take this into account. So I have to make it dramatic and exciting to maintain 

your interest for two and a half-hours, which is an incredibly long amount of time. This past one I didn’t have 

this problem so I feel it is a little more even tempered. I think it is more cohesive as an album and I’m hoping it 

will be more pleasurable to listen to. I personally like it a lot. I think it is one of the best albums I have ever done 

and I feel it has a place in people’s hearts and in people’s life’s. I think there is going to come a time during the day 

or the night where this album will be appropriate to hear. When I went into the studio to begin doing this new 

album, I went in not really knowing if I was going to have any new music. I had promised myself if I felt that the 

music that I wrote was similar or too close to whatever I had done in the past couple of albums that I wouldn’t 

release it. I was taken out a couple of years until I had something new to say. Much to my surprise it was one of 

the most effortless albums to create. It just came out. I guess I was ready. You once said “ That you know when an 

album will be useful in people’s life’s since you know what the emotional content is.” 

What is the emotional content of your latest album 

Yanni: There are a lot of different emotions that I deal with there. My problem is I traditionally do not try to 

explain my songs. It is one of the reasons that I choose instrumental music. To back track right now trying to describe 

and explain what each song means emotionally with words is next to impossible for me. I feel the accuracy 

of the emotion is in the piece when you hear it. If I have done my job correctly you will feel it. 

In listening to it there seems to be a variety of cultures that have influenced you. Is that true 

Yanni: Absolutely. I think in this album you will hear influences from Asia, the Middle East, South America and 

from Africa. 

Wishing Well-that’s from Africa, right 

Yanni: Absolutely. You were in New York City when your album debuted on October 3rd. 

HallGroat.com 


Why did you choose New York City 

Yanni: I think that that is the most important city in the U.S. I love the people up there. I have always come to 

New York when I do a tour and I love the audiences. I have a lot of fans in New York City. I have to come there. 

What’s next for you in your immediate plans 

Yanni: Right now I will promote the album for a little while. We are discussing plans for a world tour at the 

beginning of next year. But I am not sure exactly when, or if we are going to start out in the U.S. or in Europe. 

Is the highlight of your career performing at the Acropolis 

Yanni: I have to say yes—not because other audiences or other places were not just as exquisite as the Acropolis. 

The Acropolis is significant for me because it was a Greek boy coming home to show his friends and family what 

he has been doing in his life. That makes it the most special place for me. 

What are your unfulfilled personal goals 

Yanni: As soon as I find them I will let you know! Right now, I look for simplicity. I just want to be happy. I don’t 

have any grandiose goals anymore. I think with all the things I have gone through in my life and whatever small 

influence that I have from all the work I have done is that I would like to use it to do good in society in some way. 

I want to be a contributing member of society. I feel that I have a responsibility to my fans and the people who 

enjoy my work. The reason why I am here is because I have millions of people who support me as an artist. That 

is why I am able to keep doing what I do. I have a responsibility to all these people to act appropriately and to use 

this recognition that they have given me correctly. I am open to goals in other words. They will appear. There are 

plenty of places to apply your energy and to do good. 

What kinds of things do you enjoy in your leisure time when you are not composing 

Yanni: Anything that has to do with the ocean is okay with me. I windsurf,scuba dive, fish and swim as often as 

I can. 

You seem to speak to the world through your music. Is there any particular type of message that you are trying 

to give them 

Yanni: There are many messages. The message comes from my traveling and experiencing different cultures. 

If we can’t love each other, or if we find it impossible or very difficult to do so, at least we should learn how to 

tolerate one another. Not be so judgmental, not so eager to jump on people just because they are a little different 

from us, or they act slightly different, or they speak slightly different, or they eat different foods, or they behave 

different from us. Those differences are not that pronounced. They seem large because we tend to look at each 

other through a microscope, which amplifies our differences. 

How do you want to be remembered in the world 

Yanni: I don’t have this kind of ego. It is not that important now—at least not in this stage of my life. If I am 

remembered as a good man who was able to alter people’s moods for the better—if my music made them happier—that 

is as far as I think about those things. If after I am gone, there are a couple of guys who still enjoy it, 

that would be nice.. 

HallGroat.com 


Running Free 

The Last Day of Summer 

Olehoffstad.com 

On the Range 


Ephemera 

Filomena Booth 

filomenabooth.com 


VL 


http://slavkk.in.gallerix.ru/ 




VL 

“The Mythological Constructivism – this is each one of us” 


Member of : 

ARTIST TRADE UNION OF RUSSIA 

WORLD ART FOUNDATION- USA. 

INTERNACIONAL SOCIETY OF ARTIST (ISA) 

Master of Culturology & Art Management 

Teacher of Fine Arts. 

Freelance Artist. 

Author of the “Mythological Constructivism” concept – a style in the modern art. 

“The 21st century world is marked with active globalization processes in which a very 

important part is taken by the intercultural contacts. Through the language of the visual arts 

we build and share thought constructions, laying in our cultural archetype and defined by the 

instruments of the modern civilization. Realizing it or not, we are taking part and creating the 

myth of the global person. Each act of art is a part of the whole, part of the common story for 

us, the humanity, in the globalization era. This is why the sign of the new age is the 

Mythological constructivism which is made by us – doesn’t matter if we want it or not.” 

S. Krivoshiev 



Above: Scorched Prayer Right: For People and Fish



VL 


Descent from the Cross 



“Do not punish us, but preserve us.” 



VL 


Atonement- Cycle Tiny Picturesque Forms 


Bulgaria; 8000 Burgas 

Ivan Vazov street 29B 

+359888020804 

mail : slav_kk@abv.bg 




“Crucifix”- Acrylic, Oil on Wood 



Sylvia Horn 

Stormy Sea 

Tense Fish 

Sea Life Jelly Fish 

sylviakathryn.artspan.com

Sharmon Davidson 

Contemporary Mixed Media 

The Separation of Heron and Crow 

Monotype with Mixed Media, 9 x 11.5 inches 

SharmonDavidson.com

Spirit Of Overcoming VI Snowman 

Series 22x15 Watercolor 

Spirit Of Overcoming VII - Snowman 

Series-22 x 13 Watercolor 

Spirit Of Overcoming II - Snowman 

Series-22 x 15 Watercolor 

Left: Escape Velosity 2013

Expressive Interpretations : ‘The Spirit Of Overcoming’ 

Spirit of Overcoming 

Lesley Humphrey 

So many ordinary horses labelled ‘the wrong type’ or ‘poorly bred’ are seldom given the chance 

to even compete with “the big guys”, yet when they do, sometimes.. miracles happen....Such was 

the case with the great horse 'Snowman'. 

Introducing a new series "Snowman : The Spirit Of Overcoming" by internationally acclaimed sporting 

artist, Lesley Humphrey 

Visit www:lesleyhumphrey.net 

humphrey_art@yahoo.com 

Enquiries : Lauren Humphrey (713) 598-1853

Jana Kappeler 

Contemporary Abstract Art in Mixed Mediand 

janakappelerstudio.com 

janakappelerstudio@live.com 


Breaking Through 24 x 24

Shirley Quaid Studio 

‘Outa Commission’ 14 x 11 Oil on Canvas 

Capturing Moments in Life 

ShirleyQuaid.com 



CAROL NELSON 


VL 

Carol Nelson Colorado Fine Artist 

CarolNelsonFineArt.com 


Contemporary Original Oil and Acrylic Paintings 



VL Carol Nelson Denver, CO 

I wasn’t always an “artist.” I put that word in quotes because, to me, an artist is one who works at his 

or her craft diligently every day. Besides spending time at the easel, in today’s times, being an artist 

also involves networking, researching, marketing, and spending a great deal of time on the computer. 

It is far more involved than sitting at your kitchen table and painting a pretty picture once in a while. 

Going way back in my art career, I can see the embryonic form of the artist I have become. I’ve 

always been attracted to vibrant color, and my earliest memory of anything artistic is that extra-large 

box of Crayola crayons I treasured. When I colored a page, I put on LOTS of color, pushing the crayon 

deeply into the paper for a saturated color. 

In high school, my favorite subject was art. I loved everything we did in class, and it was a straight-A 

subject for me. As a college freshman, it was natural for me to declare an art major. However, sometime 

during that freshman year – maybe during a biology class or chemistry 101 – it dawned on me 

that perhaps I should think about how I would support myself when I graduated. My right and left 

brains were in a battle for dominance. The left brain won, and I graduated with a scientific degree 

and a profession (medical technology) that would prove to be both satisfying and supportive. 

So my artistic side was buried for several years. Actually, I “dabbled” a bit with artsy endeavors. 

When my children were small, I had a stained glass business out of my basement. I made custom 

stained glass windows for homeowners. Although stained glass is one of the most beautiful mediums 

there is, it is also very expensive to produce. When I figured out I was making less than 

$1/hour, I decided it was time to find a different outlet for my creative tendencies. 

The momentous day that propelled me into a serious art career came in 1998, when I happened to 

be looking through the art book section at a Hobby Lobby store. I picked up a copy of Maxine Masterfield’s, 

Painting the Spirit of Nature, and was instantly smitten with the images inside. Looking at 

the beautiful poured ink abstract compositions, I KNEW I could do this. I bought all the stuff and went 

home to start creating. 

Thus started a new passion. I soon became aware of how much I didn’t know. They say you don’t 

know what you don’t know, but at least I knew I had just scratched the surface of something huge 

and wonderful. 

Fast forward 15 years to where I am now. I’ve taken many workshops in various painting media – 

from watercolor to oils and acrylics – and slowly my true love has emerged. Although I can certainly 

appreciate the beauty of rich oils and the flowing transparency of watercolor, it’s that “texture thing” 

with acrylics and all the acrylic mediums that pulls me back time and time again. 

My studio, as you can see from the photo, is always in a state of chaos. When your medium is mixed 

media, you have to save everything that might somehow end up in a painting. I’m not above dumpster 

diving and picking up ephemera and junk off the streets. 



Canyon Colors 




I love experimenting with new paints, materials and techniques. Since I work in acrylic, the vast number 

of mediums available gives me unlimited options in how I create. Many of the techniques I’ve 

developed or practiced in my own work are of interest to other mixed media artists. I love traveling 

around the country giving mixed media workshops – I meet the nicest artists! I love their enthusiasm 

and delight at the things I present to them. 

Last October, I completed a week of training with Golden Artist Colors. Golden chose 18 artists from 

around the country for advanced study in their Golden Art Educator Program. Since I already was 

using Golden Fluid Acrylics in my work, the additional training with Golden’s many pastes, gels, and 

grits, was like a huge flood of information that I’m beginning to incorporate into my painting process. 

Life as traveling artist is sometimes hectic – like when my plane is delayed by a blizzard – but the 

rewards of meeting and working with other artists makes it all worth it. 











Contemporary Artist 

“Pouring Color Into Your Life” 

The Arrival IV 24x30x1.5 Acrylic on Canvas 

Commissions Welcome 

Rolling In V 24x30x1.5 Acrylic on Canvas 


KimberlyConradFineArt.com

KimberlyConradDailyPaintings.blogspot.com 


maralynwilson.com 

Darryl and His Little Friend 

Size- 32”x 20” x10” 

Materials- fired clay, wax, found objects 

Price- $1200.00 

Fired clay with an encaustic finish and encaustic embellishments. 


Pretty Pricilla 

Size- 8”x 9”x 14” 

Materials- fired clay, wax, wire, found objects 

Price- $850.00 

vlrees.com 

Maralyn Wilson 

maralynwilson.com 

sallieswiftart.com 

Chief- www.cfai.co/sallieanneswift 

Size - 45”x12”x8” 

Materials- fired clay, wax, wire, found objects 

Price- $1200.00 


McCoy’s Gaited Horse Artworks 

Your equine art connection! 

Jonelle T. McCoy 

jonelle-t-mccoy.artistwebsites.com 


!!!!!!!!!!! 

Eric!Bodtker! 

Kauai!Red!Dirt!Road! 

Kauai Red Dirt Road 

http://artistoftheda.blogspot yvl.com! 

www.ericbodtker.com! 

Eric Bodtker 

ericbodtker.com 


RAZZA 

Mixed Media 

razzadesign.com 

Power Tie, Mixed Media on Canvas with Oil, Enamel 

and Acrylic Paint Skin, 48” x 36” 

Tie One On, Mixed Media on Vinyl Screen on Canvas with Oil, Enamel, and Acrylic Paint Skin, 36” x 60” 


LIZ JONES 

UNIQUE ABSTRACT PAINTINGS 

Golschmann Conducts Pictures pastel 29" x 19" 

lizjonesartist.com 

emjartist@yahoo.com 


Cold Day on the Marsh 9x12 oil 

Barbara Van Rooyan 

barbaravanrooyanabstractart.com 


B.D. Busey 

Adventures in Art 

www.bdbusey.com 


artspan 

ARTSPAN Artist Spotlight 


www.kacartwright.com 


Blood Money 24 x 30 Oil on Canvas 



artspan 



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

I was an artist before I entered kindergarten, and provided me with opportunities to learn 

about color theory and design beginning at age 3. Therefore, I’ve always self-identified as an 

artist and have never lost my love for creating art. Because I think in pictures rather than in 

words, drawing and painting come naturally to me and are the way I prefer to communicate 

with myself and others. 

Who has been your mentor, or greatest influence to date Susan Webb Tregay, a superb 

artist and instructor has been the greatest influence on my work. She taught me the 

importance of concept in creating art. Without that, artistry does not occur because it is the 

intended concept that makes art “art.” 

Who is another living artist you admire and why The artists that I admire most are 

those whose work is authentic – the ones who bravely express themselves with honesty 

and integrity without the motivation of popularity and sales. Thankfully, there are many that 

fall into this category. 

What is your favorite surface to create work on or to work with Primarily, I use Arches 

watercolor paper, cold press 140 pound because it can take a lot of “abuse” and stand up 

to it very well. 

What are your favorite materials to use Although I was trained in oils, I now prefer watercolors 

above any other medium. My favorite brand is Daniel Smith. 

Do you have a favorite color palette No. For me, it’s more important to assemble a palette 

for each painting based upon the mood, values, and temperatures that I need to employ 

to best express my concept. That always changes from painting to painting. 

How often do you work on your artwork How many hours a week When I’m not traveling, 

I walk to my studio at 4:30 AM and work from between 4 to 10 hours in a single day. I 

try to do this seven days a week unless I have appointments and other matters that interfere. 

However, I’m always able to work in the studio between 4:30 and 8:30 AM. I like the discipline, 

but I’m also eager to get into the studio and work. I love to paint! 

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

remembered for is what I’ve deemed to be important: my dedication to family and community; 

integrity as an artist and a human being; creating art that is both meaningful and unique, 

that contributed to the global dialogue in the visual arts, and, effective teaching. 



Ampere’s Law 



artspan 



Brewster’s Law 



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 How do you overcome these obstacles 

As you noted, distractions, self-doubt and fear of failure are the usual culprits for most artists 

and were for me as well. Learning to ignore all that and trust my own intuition and imagination took a 

long time, but I finally got there. I learned to listen only to my inner voice. That liberated me use my 

own voice to create work that’s original rather than imitative or derivative. 

What are your inspirations for your work Because my work relies upon my imagination and not 

physical references, I suppose my greatest inspiration is my internal vision of the world. That internal 

vision is influenced by my psychology (which filters and interprets my surroundings) and my life experiences. 

What is your favorite way to get your creative juices flowing Wake up and walk to my studio. 

The juices are flowing by the time I open the studio door. It’s Pavlovian. 

Which work of yours is your favorite Always, the one I’m presently working on. I must be in love 

with and cherish the piece I’m creating in order to complete it. So, it becomes the most precious at 

the time. 

Law of Reciprocal Actions 



artspan 



Complementarity 

Entropy 



Wiedemann-Franz Law 



artspan 



The Law of Universal Gravitation 



Getting to know you Q&A 

What is your favorite color in your closet If you looked at my closet you’d see a full palette 

of colors without one that is dominant. I love all colors and tend to wear the one that best 

reflects my mood at the moment. 

What book are you reading this week I love to read women’s travel and homesteading 

accounts. Right now, I’m reading a number of books on Maine and Alaskan women homesteaders. 

Do you have a favorite television show Not really, but I do manage to follow “Project Runway.” 

I like the challenges and creative solutions by the designers. 

What is your favorite food Pie (any fruit flavor). 

What color sheets are on your bed right now Aneegoine 

What are you most proud of in your life My son. 

Who would you love to interviewAn “undiscovered” artist who is naturally gifted and struggling 

to keep her integrity while attempting to rise through the ranks. Someone who’s truly 

undaunted by the art scene and perseveres would, in my opinion, be worth knowing about. 

Do you have a passion or hobby other than painting What is it Yes. I love to sail and 

kayak. 

Who would you love to portray in mixed media I don’t know. I guess I don’t think that 

way. 

If you were an animal what would you be and why A well-loved and cared-for Labrador 

retriever would be my choice because they have a wonderful temperament and are very loyal. 

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

they be A machete, striking steel, and a very long rope. 

Share something with us that few people know about you. Although I don’t come across 

this way, I’m actually very shy. 

If you could live anywhere in the world, where would you live Since I’ve already made 

that choice, it’s easy: Midcoast Maine, where I live right now. It’s a slice of heaven. 

The Zeroth Law of Thermodynamics 



Daily Painters 

Contemporary Art 

dailypaintersabstract.blogspot.com 

Inks by Lou Jordan 


Carol Nelson

Abstract Gallery 

Abstracts 

dailypaintersabstract.blogspot.com 



Ferris Wheel 

Beach Thoughts 

Left Page: East View 

M Allison 

mallisonartist.com


Clara Johnson 

Abstract Contemporary Art 

artbyclarajohnson.com 


Studio Visit 

Sallie-Anne Swift 





VL 

Studio Visit Sallie-Anne Swift 

From a layman’s view abstract art often looks like the artist has just thrown paint onto a 

canvas to produce undefined images, but there is more to this type of art than most people 

realize. 

Sallie-Anne says she has graduated from realism art to produce fine abstract art pieces 

and believes her formal art training and many years of illustration, painting and working as 

a graphic designer play in big part in her finished pieces. 

As a realism artist for more than 30 years Sallie-Anne says she felt nervous about attempting 

an abstract painting, “it went against everything I had ever been taught” she says. It 

wasn’t until the artist moved from Australia to the USA in 2008, that she decided to be 

brave and try an abstract painting. Initially she struggled with the freedom of her brush, her 

strokes had always been very confined and controlled and she was constantly reminding 

herself to “leave it alone”, as she puts it. She found working on larger canvases and using 

the biggest, widest brushes she could find, gave her no choice but to “free-up” and it wasn’t 

long before she was producing finished pieces that she felt happy with. “Doing realism was 

a little stressful, I was worried about every stroke, now I have this new found freedom with 

my brush, paint and canvas and it is exhilarating, I’ve never looked back or enjoyed my art 

as much as I do now!” she says. 

Swift, describes herself as an artist who is “pushing boundaries”. “My head is constantly 

swimming with ideas for something that is visually appealing yet still tells a story about 

our environment. Her latest work clearly shows she has perfected a technique that works 

perfectly. She uses stretched canvas or cradled panels, finished off with acrylic panels that 

are painted in reverse to the image that appears on the canvas, a unique idea that gives 

her finished pieces even more depth and interest by creating a 2D effect. She says she 

had this idea over 3 years ago but was so busy working that it was impossible to find the 

time to put it all together. Since retiring earlier this year, she is able to paint full time and 

concentrate on her painting. She has clear ideas in her head and is not just throwing paint 

onto a canvas, her aim is to produce well structured pieces yet she remains determine not 

to let this override her artistic awareness. Her choice of colors, texture and bold strokes 

have a purpose and are precise in their application, which she feels, stems from her many 

years of experience as a graphic designer and artist. 



Title: Disturbance Medium: Acrylic and Mixed Media Size: 20” x 20” 

Swift wants her abstracts to be interesting, something that initially appeals to the eye, yet conveys a message, 

an emotion or reaction, even perhaps a question. “I love nothing better than to see people closely 

studying my work, to witness their curiosity, or to see them wanting to interact by touching it.” It’s true her 

paintings do draw you in, they make you take a second look and you really do want to touch them. She 

is constantly asked, “How did you do that” and she replies, “With many years of practice. As an artist, 

you never stop learning. I have been painting for a very long time, but every time I work on a new piece, 

I learn something new.” 



VL 


Title: Aerial Ocean Medium: Acrylic and Mixed Media 

Size: 20” x 20” 

Title: Dancing Waves Medium: Acrylic and Mixed Media 

Size: 20” x 20” 

Right Page: Title: Drawing Breat Medium: Acrylic and Mixed Media Size: 36” x 48” 



Banana Bread Two 



VL 


Title: Hugging The Shore 

Medium: Acrylic and Mixed Media 

Size: 20” x 20” 

” 



Title: Hugging The Shore 


Size: 20” x 20” 

Title: The Current 


Size: 20” x 20” 

Swift says she was inspired by her artistic family at a young age, sitting mesmerized, as she watched 

her mother (also an artist), paint for hours on end. Her uncle, a jazz musician was also a painter, and 

her grandmother a milliner and a master at her craft. Her German ancestry dated back to Wagner, the 

famous pianist. Swift also has a musical background and played piano for many years. 

“My art has evolved from one of traditional painting to one that fuses together artistic skill, technology, 

illustration and graphic design skills. It’s thrilling to see the final results. My aim is to creatively use my 

2 talents, (art and design) and become a better artist, creating unique pieces” she said. 

No matter how skilled you are, there are still many people out there who think they can slap some paint 

on a canvas, call it an abstract and sell it for a pretty penny. Swift believes this is something that greatly 

compromises the quality of an artist’s work and is an injustice to skilled artists. 

The international award winning artist, and judge, accepts commission work and enjoys the challenge 

of creating pieces for each new environment, incorporating colors and textures that will compliment interiors 

and exteriors and enhance their intended design. Her commissioned work is hanging in LA and 

Texas corporate offices, prestigious Californian beachside homes as well as Palm Desert, Scottsdale, 

New Jersey, Ohio, Taiwan, and Australia. 




Carol Nelson Workshop 

“Experiments in Mixed Media” 

February 8th and 9th 

Denver, Colorado 

Join Carol Nelson at a two day workshop at Kimberly Conrad Fine Art 

Studio Gallery. Space is limited to only six artists. You will learn about the 

mediums and materials Carol uses in her work, including several Golden 

Mediums, Tyvek, Golden high Flow Acrylics, economical substitutes for 

expensive art products, methods of presentation for a finished piece, 

methods of attachment, glues and pastes, epoxy resin application, combusted 

foil, marbleized paper and more. Carol will discuss color theory 

and composition in abstract work, the importance of having an internet 

presence for your work and she will share examples of her own work to 

illustrate different approaches with mixed media. 

Contact Kimberly Conrad to reserve your space. 

kkconrad2@aol.com 


CFAI.co Monthly Art Challenge 

December Art Challenge 

“Festive” 

Enter today for your chance to win $100 cash 

and many other fantastic prizes! 

Open to all 2D visual artists worldwide. 

Open for entry until December 27th. 


http://www.cfai.co/#!art-challenge/chic 

http://www.cfai.co

CFAI.co 

“Still Life” 

Winter Juried Show 2013 

Tracy Wall 

$500 in total cash prizes 

Plus much more! 

Open to 2D visual artists worldwide 

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


Touhing the Earth 40.5” x 84” Mixed Media made with Textured Marble Dust Plasterr 

Day Dream 72” x 72” x 3” Mixed Media made with Textured Marble Dust Plaster 


STEPHANIE PAIGE 

Fire Within 48 x 48” Mixed Media made with Textured Marble Dust Plaster 

La Jolla . SantaFe . San Diego . Denver . Scottsdale . Napa Valley . Walnut Creek . Malibu 

StephaniePaigeStudio.com 

Solo Show 

Embracing Mother Earth 

February 6th 2014 

Calvin Charles Gallery 4201 North Marshall Way Scottsdale, AZ, 85251 

RSVP 480.421.1818 VisualLanguageMagazine.com - VL Magazine | 141

VL Barry Scharf 

Painting Prisoners of Progress 


Abstract in Painting, A Personal View 



Abstract Painting, A Personal View 

The trouble with abstract art is that it is easily misunderstood. Artist’s who create abstractly run the 

risk of often being dismissed as amateur or worse as frauds. The assumption is that they cannot 

draw realistically so they make abstract marks. Although this may be true of a few it is not the rule 

for many a serious painter. This way of thinking about the artist could not be further from the truth. 

Artists spend a lifetime trying to define their style and approach to the canvas. This is not a frivolous 

venture; the struggle is real and often hard to understand. Why an artist paints, the way an artist 

paints and what images are chosen to define what is important is at the heart of every true painter. 

It is a mind, body and spiritual journey. 

There are many reasons and approaches to the creation of abstract art. First and foremost is that 

abstraction is often a part of reality simply taken out of context. Could this be a close up or inset of 

a larger something not fully defined In this way isn’t abstraction a form of realism Like in the way 

the floral center close-up paintings of Georgia O’Keefe find the abstract in the real. 

Another way to consider abstract painting is to see and feel the emotion that it expresses through 

color, shape, line, brush action and motion. These are thought provoking powerful tools of the psyche 

and are often akin to someone passionately singing or playing an instrument. Do the words 

matter when the beat is strong and the rhythm driving More often then not one is carried off on a 

wave of sound and feeling and less on meaning. 

Over what is now a lifetime at the easel, like mixing oil and water, I have struggled with bring the abstract 

and the real together in a cohesive marriage. I am forever in the pursuit of connecting the two 

worlds at some point of synthesis that allows the viewer to move freely from that, which is known 

in the mind to that which is felt in the spirit. I often struggle with how much defining characteristics 

are need to clarify the concept and at what point the emotional strokes will define the mood of the 

statement. 

I am not as interested in making a pretty image but rather in evoking an emotional or heart felt 

response. If I can define both concepts and weave them into a synergistic composition I can often 

achieve what I am looking for. If the result is beautiful all the better. 

A good example of this is the painting “Painting Prisoners of Progress,” seen below. Here we see 

a group of prison striped African Antelope springing through an environment of abstraction and as 

they try to find a path to safety they pass through a field of unnatural elements and so lost, they 

begin to fade into extinction 

https://barrywscharf.squarespace.com/ 

http://scharf62.blogspot.com/ 

www.linkedin.com/pub/barry-scharf-mfa/4/b29/3a0/ 


This painting symbolizes the 

encroachment of humanity 

on the wild lands that are becoming 

lost to us all. Observe 

the action of brushwork and 

movement of color. 

See the dripping shapes and 

the dark structural forms encroaching 

Painting Prisoners of Progress 

Abstract Dremp’t T’was Realism 

In another painting “Abstract Dremp’t T’was Realism” (above) I am looking to personify the term “Abstract” 

to think of it as having human traits. It is longing to be real but can only dream of being so. A passionate 

plea for connection as seen through a series of implied and wind blown falling leaves as they fall seeming 

lost through the undefined forms of the abstract space something has happened. One leaf has made the 

transition and landed in a river of realism! Eureka! Joy fills the dream with spirals and the visual poem is 

complete. The warm tones of the sun reflect across the water the rocks mirror themselves in the surface 

and the leaf casts it’s shadow. To the right a stone head rises as if to get a better look. The soft reality plays 

off against the bold lights and darks of the abstraction. 




As a painter in my studio I often listen to all kinds of music. For me, it is a part of the creative 

environment and often infiltrates the mood and direction a painting will take. To this point I have 

discussed a blending of two forms of painting an you may be thinking that I am not playing fair, that 

these are not true abstractions in the purist sense of the word. I have to admit that I am not following 

any rules here. So I offer another painting below, for your consideration. “Abstraction 24” is not 

based on any real images instead it is a visual structure based on music. Here the forms move in 

a dance of shape shifting and color contrast. There is a lot of brush action and contrast from white 

to black. There is an underlying score of Hebrew text that infers a chant and the verity of elements 

plays like an orchestra of instruments in a harmonic symphony of elements. The artist is the composer 

and conductor while the viewer is the audience. 

Abstract 24 

Yellows play against blue, red compliments green and there is a balance of white and black all the 

while line dances from thick to thin as we move across strong vertical divisions. 


http://scharf62.blogspot.com/ 

www.linkedin.com/pub/barry-scharf-mfa/4/b29/3a0/ 


Abstract 66 

Another pure abstract is “Abstract 66” it is not concerned with defining any reality even though one 

may be implied. This work was designed to create the illusion of a red form not attached to the green 

surface but rather floating out in front of it. Below we feel the pressure of the dark blue thick strokes 

as they struggle to brake free from the pressures compressing them. We feel the squeezing of the 

shapes and the tightness of the forms set in contrast to the freedom of the small red shape ready 

to float away. I am often in awe of the paint when I am finished with a work such as this. It seems to 

have been effortlessly created, no marks out of place, nothing extra needed, the result of a lifetime 

of standing at the easel. It is the reason I keep coming back for more. 



Roseanne Snyder 

Texas Contemporary Artist 

roseannesnyder.blogspot.com 

www.xanadugallery.com/2013/Artists/ArtistPage.phpArtistID=983 


Lloyd Voges 

WAA 

Texas Cactus Floral #7 24 x 36 

Colored in Drought Oil on Canvas 30 x 40 

It’s Still a Little Shade Oil on Canvas 24 x 30 

Paulson Gallery & Frames 

112 N. Ave D Clifton, Texas 

254-675-3144 

LLVstudioLloydvoges.com 


Lisa McKinney 


Lisa-McKinney.com 

Lisa-McKinney.artistwebsites.com 

www.lmckinneygraphics.blogspot.com 



Lary Lemons


DianeWhitehead.com 

“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. “ 


Diane Whitehead 

DianeWhitehead.com 


DORON 

Melissa Doron 


artistdoron.com

ART 

Contemporary 

artistdoron.com 



wenmohsranch.com

Dena Wenmohs 

Dynamic Color and Composition 

The Bunkhouse, Art Classes and Gallery 

wenmohsranch.com 


HERTEL 

hertel.artspan.com 

“Thin Ice” 


hertel.artspan.com 

Daniel (de)Cournoyer 

619 Côte St. Jean, St. Roch de Richelieu, Qc.Canada, J0L 2M0, 

Phone: 438-871-2356 


Poppies 

Mary Jo Zorad 

ZoradArt.com 


High Fashion 

Felicia Marshall 

signature member AOT 

feliciamarshall.blogspot.com 


Kay Wyne 

Karen Balon 

Jill Saur 

Palette Knife Artists 


Tom Brown 

Natasa Vretenar 

www.paletteknifepainters.blogspot.com 


Filomena Booth 

Karen Tarlton 

Judith Babcock 

www.paletteknifepainters.blogspot.com 

Lori McNamara 

Carol Schiff 

Laurie Pace 


VL 

Photographer Spotlight 

Tom Peterson 

http://www.tpeterson45.com/ 

Yellow Window 



artspan 

Wall 2 



VL 


Tom Peterson 

I took early retirement from The Hartford Financial Group in September of 2003. That year, 

I devoted myself to learn and develop as a Documentary and Fine Arts photographer. I was 

originally influenced by the life and photography of Eugene Atget, the French photographer 

whose work concentrated on “Old” Paris during the early 20th Century. Since 2005, I have 

dedicated myself to photographing the disappearing sections of Connecticut cities and, more 

recently, New York’s 5th Avenue. 

I generally find places that are in a state of change and often return to them. The more I return, 

the more I see. That familiarity provides me with opportunities to create unique sets of 

images and themes. 

Many of my photographs focus on an abstract view of every day structures and close-up 

subjects we often pass by, but rarely notice. My objective is to find and photograph the uncommon 

within the commonplace. 

The photographs included in my portfolio, “Around Here”, are part of an ongoing series taken 

while walking along side streets, back alleys, and vacant buildings in Connecticut’s urban 

centers. These particular photographs were taken in once vibrant, industrial neighborhoods 

that have been left in a state of urban decay. 

I have imagined myself an archeologist finding small pieces of abstract art that have gone 

unnoticed. Each subject was selected for its vibrant color, shape and texture. I share any 

success with my partners, “Time” and “Weather”. 

“Around Here” is one of six portfolios that are currently on my Artspan website. 

www.tpeterson45.com. 



artspan 


Yellow 



VL 


Tom Peterson 

Abandoned 



artspan 


Blue 



VL 


Tom Peterson 

Molten 



artspan 


Weathered Landscape 

Untitled 4 


VL 


Tom Peterson 

Condemned 

Jazz Note 



artspan 

Variations with Red 



CFAI.co Art Challenge 

CFAI.co November Art Challenge 

“What’s on the Menu” 

Best of Show - Barbara Mason 

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

Best of Show 

Sweet Station 

Barbara Mason 

http://www.dragonflystudiocreations.com 


First Place 

Some Like it Hot 

Kay Smith 

http://www.kaysmith.artspan.com 



CFAI.co Art Challenge 

Second Place 

Oyster on the Half Shell 

Kristine Kainer 

http://www.kristinekainer.com 


CFAI.co December Art Challenge - “Festive” - $100 Cash Prize! 

Open to all 2D visual artists! 

Enter now - 

http://www.cfai.co/#!art-challenge/chic 


Painting by Tom Brown

Third Place 

Teapot and Citruses 

Tatiana Roulin 

http://www.3dmirror.com 


Submit your portfolio to join 

Contemporary Fine Art International 

http://www.cfai.co/#!join-us/cgs0 


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 



Janet Weaver 

Portrait of Tim 

“The Man Called Weasel” 

size: 24 x 36 inches 

JanetWeaver.com 

email: jweaver642@embarqmail.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 



http://davethepaintingguy.com/podcast/

Visual Language Magazine Contemporary Fine Art Vol 3 No 1 January 2014

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