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Visual Language Magazine Contemporary Fine Art Vol 3 No 6

Featuring Abstract Art, Encaustic Art, Mixed Media Art and more. Cover Artist is Texas Artist Judy Wilder Dalton. Featured are VL Top Artists to Collect are Simon Kenny, Kimberly Conrad, Ines Fugina, Janine Kilty, Melissa Doron, and Suzy Pal Powell: CFAI.co Colors on My Palette Arlene Woo; Visual Language Studio Visit with Corey West Watson and Vanessa Katz: Artspan Discovery Alison Woods; Visual Language Studio Visit with Artspan Artist Birgit Huttemann-Holz; WAOW Women Artists of the West; Barry Scharf on Abstraction; Artspan Spotlight with Nancy Bossert; CFAI.co Art Showdown; VL Photographer Robert LeBlanc. Visual Language Magazine published through Graphics One Design. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language Magazine crosses all boundaries.

Featuring Abstract Art, Encaustic Art, Mixed Media Art and more. Cover Artist is Texas Artist Judy Wilder Dalton. Featured are VL Top Artists to Collect are Simon Kenny, Kimberly Conrad, Ines Fugina, Janine Kilty, Melissa Doron, and Suzy Pal Powell: CFAI.co Colors on My Palette Arlene Woo; Visual Language Studio Visit with Corey West Watson and Vanessa Katz: Artspan Discovery Alison Woods; Visual Language Studio Visit with Artspan Artist Birgit Huttemann-Holz; WAOW Women Artists of the West; Barry Scharf on Abstraction; Artspan Spotlight with Nancy Bossert; CFAI.co Art Showdown; VL Photographer Robert LeBlanc. Visual Language Magazine published through Graphics One Design. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language Magazine crosses all boundaries.

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VL<br />

<strong>Visual</strong> <strong>Language</strong><br />

contemporary fine art<br />

features<br />

Rod Seeley<br />

Corey West Watson<br />

Birgit Huttemann-Holz<br />

WAOW San Deigo<br />

Barry Scharf<br />

Alison Woods<br />

Venessa Katz<br />

VL<br />

June 2014 <strong>Vol</strong>ume 3 <strong>No</strong>. 6<br />

Judy Wilder Dalton<br />

http://judywilderdalton.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 1


VL<br />

visual language<br />

contemporary fine art<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com<br />

Subscribe Free Today.<br />

http://visuallanguagemagazine.com/subscribe.html<br />

June 2014 <strong>Vol</strong> 3 <strong>No</strong> 6<br />

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2 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Judy Wilder Dalton<br />

Finding <strong>Art</strong> in Life and Life in <strong>Art</strong><br />

“I believe there is a strong human response<br />

to color and that it reflects and affects<br />

our moods. My painting begins with<br />

a broad wash of color and rhythms. I establish<br />

a strong design structure and color<br />

harmony. Each layer reveals more forms<br />

and shapes. The use of lines and textures<br />

add intrigue and interest to the surface.<br />

My intention is to keep the elements universal<br />

and invite the viewer to experience<br />

it on an emotional level as well as visually.<br />

Even when I make a choice to use a subject<br />

such as a still life, landscape or figure,<br />

the elements of form, line, color and texture<br />

are my focus. I love the delicacy, vigor<br />

and beauty in them apart from the subject.<br />

My style in expressionist to impressionist,<br />

with bold and vibrant colors.<br />

VL Cover <strong>Art</strong>ist<br />

My mediums include, but are not limited to,<br />

water-media, oil, and pastel.”<br />

http://judywilderdalton.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 3


Connie Dines<br />

<strong>Art</strong>ful Exposures One Frame At A Time<br />

Top to Bottom Left: Agave 1, Agave 2, Agave 4 Right: Agave 3<br />

www.artfulexposures.com<br />

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contentVL<br />

Cover <strong>Art</strong>ist Judy Wilder Dalton 3<br />

Bringing <strong>Art</strong> to Life and Life to <strong>Art</strong><br />

Painter’s Keys - Robert Genn 11<br />

VL <strong>Art</strong>ists to Collect - 16<br />

Simon Kenny, Kimblery Conrad, Ines Fugina<br />

Malnar, Janine Kilty, Melissa Doron, Suzy Pal<br />

Powell<br />

CFAI Colors on My Palette 44<br />

Arlene Woo<br />

Read the up close and personal interviews from CFAI.co Find<br />

out more about the artist, their inspirations and how they approach<br />

their work.<br />

VL Studio Visit with Corey Watson 70<br />

“It sounds so clichéd to say that I was practically born with a<br />

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

Throughout a childhood spent drawing and painting, Watson<br />

knew she wanted to be an artist. But she had little idea what<br />

such a calling would entail, or how the journey would test her<br />

to her limits.<br />

VL Studio Visit with Rod Seeley 54<br />

The first question I’m asked when someone views my art is<br />

”how did you do that”... Quickly followed by a puzzled look<br />

of disbelief when I attempt to explain the process and show<br />

them the “original” piece of Fractal <strong>Art</strong> used to create my<br />

unique style of artwork.<br />

VL <strong>Art</strong>span Studio Visit with Birgit Huttemann-Holz<br />

82<br />

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

sanctuary, turn on the light, plug in my electric tools, and turn on the heater.<br />

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

the volume. Ready! I step into the U-form of my working space.<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 5


WAOW San Diego 100<br />

It takes the energy of an Olympic gymnast for a woman to reach for<br />

the highest quality attainable in the visual arts, to stretch themselves<br />

to achieve that excellence. Painting, drawing, sculpture—all take time<br />

and perseverance to master. For women, whose workday does not end<br />

when they return home to become the mother, the housekeeper, the<br />

wife, and sometimes nurse, finding time for their art often means walking<br />

that narrow balance beam between ‘creative time’ and ‘family time’.<br />

.<br />

Barry Scharf 114 Abstraction<br />

This is a question that has at one time or another been on the<br />

mind of every artist that is confronting a blank canvas. Some<br />

know exactly what they will do before they start others start and<br />

find the answer within the moving strokes of color and random<br />

forms that emerge within the action of events.<br />

ARTSPAN.com New Works - 120<br />

Do not miss the new works posted every day on <strong>Art</strong>span.com.<br />

Enjoy the works of Alison Woods.<br />

VL Studio Visit withVanessa Katz 124<br />

Vanessa Katz was born and raised in England and now resides<br />

in Palm Desert, California. At an early age she was always fascinated<br />

with color and began painting as a teenager.<br />

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contentVL<br />

<strong>Art</strong>span Spot Light Nancy Bossert 136<br />

Who has been your mentor, or greatest influence to date<br />

I cannot say one in particular.<br />

Everyone I come in contact with I can learn something from. This<br />

can be from the very young to the oldest. However I had one<br />

graduate instructor who could put what I was seeing into words<br />

and that was Dorothea Builder.<br />

CFAI.co Showdown Mixed Media,<br />

Encaustic and Digital <strong>Art</strong> 152<br />

First Place Arlene Woo<br />

Second Place Donna L Martin<br />

VL <strong>Art</strong>span Photographer Robert LeBlanc 164<br />

Each of photography’s many genres presents challenges. Of the<br />

many genres I have engaged, from street photography to metaphoric<br />

art, the most challenging and rewarding has been wildlife.<br />

Directory of <strong>Art</strong>ists and Galleries 182<br />

In alphabetical order you can easy find all featured<br />

artists and advertising artists, along with featured<br />

galleries in our index directory.<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 7


<strong>Art</strong>ist of the Day<br />

“<strong>Art</strong> is not what you see, but what you make others see.” ― Edgar Degas<br />

Sign up today.<br />

Mary Ann Cherry<br />

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

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

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

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

http://www.maryanncherry.com/<br />

artistofthedayvl.blogspot.com<br />

If you want to be featured as an <strong>Art</strong>ist of the Day, contact <strong>Visual</strong> <strong>Language</strong> <strong>Magazine</strong>.<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>@gmail.com<br />

8 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


www.carol@caroljosmidt.com<br />

carol@caroljosmidt.com<br />

Carol Jo Smidt<br />

“The White Horse” Pastel 16" x 20"<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 9


VL<br />

visual language magazine<br />

<strong>Contemporary</strong> <strong>Fine</strong> <strong>Art</strong><br />

<strong>Visual</strong> <strong>Language</strong> <strong>Magazine</strong> Staff<br />

Editorial<br />

Editor -in-Chief Laurie Pace<br />

Executive Editor Lisa Kreymborg<br />

Contributing Editor Lisa Neison-Smith<br />

Consulting Editor Nancy Medina<br />

Feature Contributor Robert Genn Painter’s Keys<br />

CFAI Contributor Kimberly Conrad<br />

Feature Editor <strong>Art</strong> Reviews Hall Groat II<br />

Feature Contributer Barry Scharf<br />

VL Sponsor ARTSPAN Eric Sparre<br />

Advertising<br />

Contact: <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>@gmail.com<br />

Marketing and Development<br />

Executive Director Business/Management Stacey Hendren<br />

All <strong>Art</strong>work is Copyrighted by the Individual <strong>Art</strong>ists.<br />

<strong>Visual</strong> <strong>Language</strong> <strong>Vol</strong> 3 <strong>No</strong> 6<br />

http://susansmolenskyfineart.com<br />

http://Lisa-McKinney.com<br />

http://www.slhpollard.com<br />

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The Painter’s Keys<br />

Robert Genn<br />

Conundrum<br />

Robert Genn’s<br />

Studio Book<br />

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

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

and plays bass saxophone in his school band.<br />

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

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

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

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

time, more thought--at least a little bit more slaving.”<br />

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

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

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

breakfast.<br />

The Painter’s Keys - Robert Genn<br />

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

masterpiece.<br />

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

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

to outrageous technology, the power of boldness, avoiding the obvious, varying a theme, surprising<br />

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

permanent), beginning, beginning again, beginning again again, getting excited, loving the stuff, etc.<br />

<strong>No</strong> matter what your disciplines, you need your own personal lists.<br />

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

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

Best regards,<br />

Robert<br />

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

completed.” (Johann Wolfgang Von Goethe)<br />

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

Keep doing it and you’ll gradually begin to feel less guilty. Keep doing it and you’ll fall in love.<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 11


Glowing<br />

Kaleidoscope<br />

ValerieTravers.com


Valerie Travers<br />

Working in Acrylic, Oil, Pastel,<br />

Mixed Media Landscapes,<br />

Seascapes, Abstracts, and Florals<br />

“Painting is a reflection of who I am and<br />

what I feel most deeply. Bluebell wood<br />

is one of my favourite subjects and I am<br />

compelled to paint it time and time again.<br />

In my mind it signifies freshness and new<br />

beginnings..”<br />

ValerieTravers.com<br />

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


Terrye Philley<br />

Gulf Coast <strong>Art</strong>ist<br />

On to Distant Shores<br />

Oil 11 x 14 inches<br />

TerryePhilley.com


Linda McCoy<br />

Linda McCoy Studio/Gallery<br />

Gallery/<strong>Fine</strong> <strong>Art</strong> Instruction<br />

209 S West Street, Mason, Ohio<br />

www.lindamccoyart.blogspot.com<br />

www.davisandcompany.squarespace.com/artists/#/linda-mccoy<br />

clairebullfineart.com<br />

http://fineartamerica.com/profiles/claire-bull.html


VL<br />

Ines Fugina<br />

Simon Kenny<br />

Kimberly Conrad<br />

Suzy Pal Powell<br />

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<strong>Art</strong>ists to Watch and Collect<br />

Simon Kenny<br />

Kimberly Conrad<br />

Ines Fugina Malnar<br />

Janine Kilty<br />

Melissa Doron<br />

Suzy Pal Powell<br />

Melissa Davis Doron<br />

<strong>Visual</strong> <strong>Language</strong> <strong>Magazine</strong> Featured <strong>Art</strong>ists<br />

this month delve into the beauty of each<br />

of the six different artists and their unique<br />

approach to creativity.<br />

Simon Kenny is celebrated internationally<br />

for the passion in his abstract paintings.<br />

Kimberly Conrad pours color into your life<br />

with her unique canvas pours. Ines Fugina<br />

Malner felt limited with 2D sketching<br />

and now creates expressive paintings. Janine<br />

Kilty nutures emerging stories on her<br />

canvas. Melissa Doron has stepped out of<br />

her studio and taken on representing other<br />

artists with Davis and Co <strong>Fine</strong> <strong>Art</strong> Gallery.<br />

Suzy Powell started with doll clothes and<br />

found the celebration and the vibrancy of life<br />

with her mixed media work and watercolors.<br />

Janine Kilty<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 17


VL Simon Kenny<br />

http://www.simonkennysart.com/<br />

Abstract Paintings<br />

Simon Kenny is a multi-award winning artist, celebrated nationally and internationally<br />

for his vibrant, expressive paintings. His work is praised as being dramatic, atmospheric<br />

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

encompasses brush and palette knife work, subtle under-painting and graduating<br />

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

has attracted significant attention for his growing collection of colour burst oil paintings.<br />

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

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

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

moment of emotion.<br />

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

his natural artistic instinct he acquired techniques and preferences which he relates<br />

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

painting he embarks on a personal journey through a host of emotions, all carefully considered<br />

and expressed through both colour and form, offering the viewer a direct visual<br />

connection to his mind set.<br />

Left:Core<br />

Center: Essence<br />

Right: Rise<br />

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<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 19


VL Simon Kenny<br />

http://www.simonkennysart.com/<br />

Left:Reach<br />

Right:<strong>No</strong>va<br />

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With accolades such as a young master and a radical turner Simon Kenny is an internationally<br />

recognized artist specializing in abstract canvas paintings.<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 21


VL Kimberly Conrad<br />

http://www.kimberlyconradfineart.com<br />

Abstract Paintings<br />

“<strong>Art</strong> and music are to my soul, as food and water are to my body. I believe that they<br />

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

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

first canvas, magnificently painted it, and brought it to life.”<br />

Kimberly is a full time artist, dividing her time between painting and teaching in her<br />

Denver Studio.<br />

The artist considers herself to be an Abstract Expressionist, or more accurately, an<br />

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

used in her non-representational abstracts, landscapes, seascapes and aspens<br />

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

uses no brushes, other than to tone her canvas before pouring.<br />

Kimberly’s work can be found in private and corporate collections, hospitals, hotels,<br />

resorts, restaurants, and most recently, motion pictures.<br />

Kimberly is the founder of Daily Painters Abstract Gallery, Daily Painters of Colorado,<br />

and co founder and CEO of <strong>Contemporary</strong> <strong>Fine</strong> <strong>Art</strong> International. She is also an internet<br />

art marketing coach and teacher.<br />

Right Page Top:A Beautiful Storm 24 x 36<br />

Right Page Bottom: Sky in Motion 24 x 36<br />

Left Page Below: Dreaming 36 x 48<br />

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<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 23


VL Kimberly Conrad<br />

http://www.kimberlyconradfineart.com<br />

24 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


In December 2013, Kimberly opened Kimberly Conrad<br />

<strong>Contemporary</strong> <strong>Art</strong> Gallery In downtown Denver, in a beautiful<br />

old boarding house built in 1906.<br />

Shortly after opening the gallery, she rented an additional<br />

space just across the hall to use as her studio.<br />

Both spaces overlook the 7th Avenue restaurant district,and<br />

provide beautiful city views. She now paints teaches and<br />

hosts workshops by other artists in the new studio.<br />

Left Page Bottom: Royal Wave 30 x 24<br />

Right Page: Kimberly Conrad and the Gallery<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 25


VL Ines Fugina Malnar<br />

http://inesfugina.artspan.com/<br />

Shades of Gold – Living <strong>Art</strong> - Intuitive<br />

Abstract Painting of Inner<br />

Landscapes<br />

I love art. I love expression. And I always admired<br />

painters but couldn’t draw anything more that 2D<br />

sketches. So I never tried. But a few years ago<br />

some abstract images started to come out through<br />

me: and all of a sudden I knew exactly which paper<br />

to buy, which color to take and where to put it - it<br />

was the kind of certainty one would like to have with<br />

everything in life.<br />

And I realized I was actually painting. And that the<br />

time I spent doing that was the time I was very close<br />

to myself, to the part of me that is closest to my true<br />

self, that has no masks, disguises, manipulations,<br />

the one that does not need to play games to be real.<br />

Becoming a painter was very much a part of my personal<br />

growth and transformation.<br />

At first I didn’t know what to do with the paintings<br />

- in the process of making them I liked them strongly<br />

but after that they became strangers. But as time<br />

went on, that creative part of me anchored deeper<br />

and I began to feel, love and honor them. I realized<br />

that they are alive, that their vibration contains some<br />

profound universal energy that resonates with ones<br />

soul, spirit and pristine being.<br />

Once a lady came to choose a painting for herself<br />

and finding it she said: “I know this one!” I thought<br />

she had seen it in a shop but she said, “<strong>No</strong>, I’ve seen<br />

it in my soul”.<br />

Through painting I remember the magic of being human,<br />

the beauty of being divine, the innocence and<br />

playfulness of expressing and creating, the gift of living<br />

art and sharing it.<br />

http://inesfuginamalnar.crevado.com/<br />

http://inesfugina.com<br />

https://www.facebook.com/ines.fugina<br />

Sound of Creation<br />

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White Woman Under Golden Veil She Dances A Couple<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 27


VL Janine Kilty<br />

http://www.janinekilty.com/<br />

Emerging Stories<br />

Janine Kilty is a Cape Cod artist who specializes in realistic paintings<br />

in oil. She has trained at the Pennsylvania Academy of The <strong>Fine</strong> <strong>Art</strong>s<br />

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

work has been exhibited in galleries and public spaces in New England,<br />

Middle Atlantic and western New York, and hangs in private collections<br />

around the world. Mrs. Kilty has shown paintings in national exhibitions<br />

and competitions and has won prizes.<br />

<strong>Art</strong>ist’s Statement:<br />

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

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

Sargent, Sorolla and Beaux.<br />

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

the story is obvious, sometimes it is enigmatic. Often the story that emerges in a painting<br />

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

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

I believe a painting is only completed with the engagement of the viewer.<br />

Right Top: Companions<br />

Left Below: Abbey Road<br />

Center Below: <strong>No</strong>cturne<br />

Right Below: Park Street Dream<br />

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“The Timeless Tapestry” by Lesley Humphrey<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 29


VL Melissa Doron<br />

http://artistdoron.com<br />

The Spirit of <strong>Art</strong><br />

Davis & Company<br />

<strong>Contemporary</strong> <strong>Fine</strong> <strong>Art</strong><br />

www.DandCgallery.com<br />

As an artist it’s always been my dream to open a gallery.<br />

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

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

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

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

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

artists to show with Davis & Company.<br />

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

and the satisfaction of showing the work and getting to hear the feedback from the public at<br />

the same time. After hosting the Rites of Spring Exhibition for the <strong>Art</strong>ists of Texas, an overwhelming<br />

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

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

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

& Company.<br />

Creation<br />

Sailing<br />

30 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


"<strong>Art</strong> is subjective. <strong>No</strong>t everyone will like your work but if you love it then everything<br />

else will fall into place." -Melissa Doron<br />

The Peacock Tree<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 31


VL Suzy Pal Powell<br />

http://suzypal.blogspot.com/<br />

The Spirit of the Paint<br />

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

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

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

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

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

family of a son and daughter, and 4 grandchildren.<br />

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

she was allergic to the oil paint she changed to pastels and pencil. Watercolor had always<br />

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

paints whatever brings excitement to her, especially loving western art, and old vehicles. <strong>No</strong>stalgic<br />

type subjects.<br />

She paints mainly with watercolor on traditional watercolor paper, but has started using some of<br />

the different synthetic papers and also branching off with acrylics and gouache as well as torn<br />

paper collages.<br />

The torn paper pieces have done really well, being accepted in shows, and in a <strong>No</strong>rth Light art<br />

book. As well as some being licensed.<br />

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

problems. So far it has been good.<br />

She has been featured in Watercolor Magic <strong>Magazine</strong> website three times, and <strong>Art</strong>ists Sketchbook<br />

<strong>Magazine</strong> with some of her sketches. She was also featured in <strong>No</strong>rth Light <strong>Magazine</strong> twice<br />

with her Christmas designs and once with a postcard design. ‘The <strong>Art</strong>istic Touch 4, 5, and 6’ by<br />

Chris Unwin. ‘Incite, Dreams Realized’ by <strong>No</strong>rth Light <strong>Art</strong> Books. Also, The Colors of Texas, The<br />

<strong>Art</strong>ists of Texas.<br />

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

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

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

T-shirt Design for 2002- 2005. A “One Woman Show” at Barnes and <strong>No</strong>bles Bookstore in Lubbock,<br />

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

in Lubbock in 2005.<br />

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

shows. She has signature status with Southwestern Watercolor Society, Wyoming Watercolor<br />

society and <strong>Art</strong>ist of Texas.<br />

32 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


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

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

workshops. She can be reached at suzy_pal2000@yahoo.com and her website address is www.<br />

suzypal.com. Blog address is www.suzypal.blogspot.com, and you can see a lot of her work at<br />

www.bluecanvas.com/suzypal.<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 33


VL<br />

Suzy Pal Powell<br />

http://suzypal.blogspot.com/<br />

Daily Supplies<br />

Saddle<br />

Paint Horse<br />

Ellie<br />

34 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Wyoming Cowboy<br />

Riding the Circuit<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 35


STEPHANIE PAIGE<br />

La Jolla . Santa Fe . San Diego . Denver . Scottsdale . Napa Valey . Walnut Creek . Lagua Beach<br />

Resting Sky 48” x 48” Mixed Media made with Textured Marble Dust Plaster<br />

Visit Stephanie’s Representing Galleries<br />

NEXT SHOW is at Pippin <strong>Contemporary</strong> on June 20th, 2014<br />

Mirada <strong>Fine</strong> <strong>Art</strong> Gallery . Denver, CO. Ph.303-697-9006<br />

Calvin Charles Gallery . Scottsdale, AZ . Ph.480.421.1818<br />

Pippin <strong>Contemporary</strong> . Santa Fe . Ph.505-795-7476<br />

<strong>Contemporary</strong> <strong>Fine</strong> <strong>Art</strong>s Gallery . La Jolia, CA. Ph.858.551.2010<br />

Christopher Hill Gallery . Napa Valley, CA. Ph. 707.963.0272<br />

STEPHANIEPAIGESTUDIO.COM


Nevermore 18 x 24<br />

VL REES<br />

<strong>Contemporary</strong> Realism and Beyond<br />

Visit my Website:<br />

www.vlrees.com<br />

www.TippingPaintGallery.com


Elaine Vileria<br />

Abstract/Realistic Drawing and Pastels<br />

contemporary drawing<br />

elainevileria.artspan.com


The Last Season Oil on Canvas 22 x 28<br />

Allegorical Painting<br />

Sanda Manuila<br />

sandamanuila.artspan.com


Phyllis Mantik deQuevedo<br />

Tulip Pose 6”h X 6”w X14”d<br />

“A Work In Progress”<br />

mantikstudio.com


Florescence 15”h X 10”w X 12”d<br />

Flower Bed 7”h X 23”w X 8”d<br />

M’Lady’s Slipper 10”h X 14”w X 10”d


discover art . inspire collectors<br />

dandcgallery.com<br />

DAVIS&CO


engage discussion . celebrate life<br />

DAVIS&CO f i n e a r t g a l l e r y<br />

Established by David Davis and Melissa Davis Doron, the mission of Davis and Company, <strong>Contemporary</strong><br />

<strong>Fine</strong> <strong>Art</strong>, is to inspire our collectors and guests with original works of art of the highest possible quality and to<br />

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

dandcgallery.com<br />

f i n e a r t g a l l e r y


CFAI.co Colors On My Palette<br />

Arlene Woo<br />

http://arlenewoo.blogspot.com<br />

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

When did you realize you loved art and wanted to be ‘an artist’<br />

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

Who has been the greatest influence from your past to mentor you to this career<br />

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

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

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

when I was young.<br />

Who is your mentor today, or another artist you admire and why<br />

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

nudged me in new directions.<br />

What is your favorite surface to paint on Describe it if you make it yourself.<br />

Fabriano watercolor<br />

What brand of paints do you use<br />

Primarily Daniel Smith<br />

Do you have a favorite color palette<br />

I love New Gamboge, blue greens, and Permanent Brown<br />

What is your favorite color in your closet<br />

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

definitely missing: green and ochre.<br />

What subject appears the most in your paintings and why<br />

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

How often do you paint How many hours a week<br />

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

How would you like to be remembered<br />

I’d like to be remembered as an honest, thoughtful person.<br />

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

44 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Flute Player<br />

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

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 45


LEVINE<br />

RICHARD LEVINE<br />

Pastel Painter - Landscapes Real and Imaginary<br />

Landform Utah<br />

www.richardlevine.net<br />

Email: artisanrichard@gmail.com<br />

Davis&CO<br />

DandCgallery.com


CAROL BRODY ART<br />

Imagining in paint, photography and wax.<br />

“Bold Gets Soft”, <strong>No</strong>. 1<br />

“Pastel Grid” <strong>No</strong>. 1<br />

CarolBrodyart.com


Collectors Discover New <strong>Art</strong> Daily.<br />

International Voices - Speaking Through <strong>Art</strong><br />

Professional <strong>Art</strong>ists - Join the CFAI Family.<br />

Membership Includes:<br />

• Personal Coaching on Individual <strong>Art</strong> Marketing Strategies<br />

• Heavy Brand Marketing of CFAI.co Member <strong>Art</strong>ists<br />

• Promotion of <strong>Art</strong>ist’s Work on Multiple Social Media Sites<br />

• Promotion of <strong>Art</strong>ist’s Events and Workshops<br />

• Professional Gallery Page on the CFAI.co Website<br />

• Over 100 Specialty <strong>Art</strong> Blogs to Choose From<br />

• Monthly <strong>Art</strong>ists Showdowns Free for Members<br />

• Quarterly Juried Competitions at a Discounted Rate<br />

• Eligibility for Inclusion in the Annual Collectors Book<br />

http://www.cfai.co


Aspen S P A C E S<br />

Lelija Roy www.lelija.net aspen.spaces@gmail.com


Roseanne Snyder<br />

Diversity in Texture and Composition<br />

Snowfish 20 x 24<br />

roseannesnyder.blogspot.com


Jonelle T. McCoy<br />

Oklahoma Equine <strong>Art</strong>ist<br />

Your Equine <strong>Art</strong> Connection<br />

“Heart of the Matter”<br />

"Blooming Everywhere" Acrylic on Gallery Wrap Canvas<br />

mccoysgaitedhorseartworks.blogspot.com<br />

mccoysartworks@gmail.com


Hanami<br />

Eric Bodtker<br />

ericbodtker.com<br />

Davis&CO<br />

dandcgallery.com


Victoria Pendragon<br />

“Wordscapes”<br />

www.victoriapendragon.com


Amber Wilderness<br />

http://www.rodseeleyart.com/


VL<br />

Rod Seeley<br />

Stylized Digital Fractal <strong>Art</strong><br />

http://www.rodseeleyart.com/


VL<br />

Studio Visit<br />

Rod Seeley<br />

Stylized Digital Fractal <strong>Art</strong><br />

Creating a New <strong>Art</strong> Form.<br />

The first question I’m asked when someone<br />

views my art is ”how did you do that”... Quickly<br />

followed by a puzzled look of disbelief when<br />

I attempt to explain the process and show them<br />

the “original” piece of Fractal <strong>Art</strong> used to create<br />

my unique style of artwork.<br />

Although I’ve always had a creative nature and<br />

was an award winning Creative Director of an<br />

ad agency in the 1970’s, I never really considered<br />

myself to be an artist since I couldn’t really<br />

draw all that well and certainly couldn’t paint to<br />

save my life.<br />

In 2010 for fun I decided to experiment with several<br />

different digital paint programs. Well known<br />

(Corel Painter) and a few lesser known but easier<br />

to use programs. My early pieces were a<br />

combination of digital art mixed with digital paint<br />

techniques which I reproduced on canvas (gliclee).<br />

Although they looked great it didn’t really<br />

allow me to be as creative as I wanted to be.<br />

Sometime in 2011 by accident I discovered<br />

Fractal <strong>Art</strong>. At the time I had no idea what fractal<br />

art even was or how it was created. Here is a<br />

brief description of the background of the art.<br />

“Fractal art is a form of algorithmic art created<br />

by calculating fractal objects and representing<br />

the calculation results as still images, animations,<br />

and media. Fractal art developed from the<br />

mid-1980s onwards. It is a genre of computer<br />

art and digital art which are part of new media<br />

art. The Julia set and Mandlebrot sets can be<br />

considered as icons of fractal art.<br />

Fractal art (especially in the western world)<br />

is not drawn or painted by hand. It is usually<br />

created indirectly with the assistance of fractal-generating<br />

software, iterating through three<br />

phases: setting parameters of appropriate fractal<br />

software; executing the possibly lengthy calculation;<br />

and evaluating the product. In some<br />

cases, other graphics programs are used to further<br />

modify the images produced. This is called<br />

post-processing. <strong>No</strong>n-fractal imagery may also<br />

be integrated into the artwork.” – from Wikipedia.<br />

There are a number of outstanding Fractal <strong>Art</strong>ists<br />

around but nearly all stop where I start because<br />

in general fractal art is very detailed and<br />

has a distinct computer generated algorithmic<br />

look. I use at least 6 different fractal software<br />

programs to create my “Original” piece of artwork.<br />

All of these programs are a little different<br />

but all work much like a child’s kaleidoscope in<br />

the sense that once you move the image displayed<br />

you can’t go back. Once I finalize the<br />

piece I want to use, my process begins.<br />

The “metamorphosis” begins in Photoshop<br />

which is my base program but I rarely use any<br />

of the filters provided with the program. Instead<br />

I use nearly a dozen plug in programs to create<br />

my work. Unlike most artists I have no idea what<br />

shape the creation will take or what the final<br />

the color combinations will be most of the time.<br />

When the piece “Wow’s” me I stop. In many<br />

cases I will use the same “Original” piece to create<br />

5 or more pieces and it is doubtful that the<br />

average person would know the finished pieces<br />

came from the same piece of art.<br />

http://www.rodseeleyart.com/<br />

56 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Believe<br />

http://www.rodseeleyart.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 57


VL<br />

Studio Visit<br />

Rod Seeley<br />

<strong>Art</strong>istic Layers 1<br />

http://www.rodseeleyart.com/<br />

58 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Colorful Spectrums<br />

http://www.rodseeleyart.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 59


VL<br />

Studio Visit<br />

Rod Seeley<br />

Imagine It 4<br />

http://www.rodseeleyart.com/<br />

60 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Creative Circles<br />

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

bright, vibrant and have Wow appeal.<br />

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

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

York in 2013 that I had created a new art form.<br />

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

to the finished art.<br />

http://www.rodseeleyart.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 61


VL Studio Visit<br />

Rod Seeley<br />

Rainbow Spheres<br />

My artwork has been exhibited at many large National & International <strong>Art</strong> Shows;<br />

<strong>Art</strong> Expo New York 2013 & 2014, Spectrum New York 2013 & 2014, Spectrum Miami<br />

2013 & 2014. <strong>Art</strong>work has also been exhibited at Montreal <strong>Art</strong> Center and Southern<br />

Nevada Museum of <strong>Fine</strong> <strong>Art</strong>, Las Vegas.<br />

In addition, my work has been published in a number Juried <strong>Art</strong> Publications; International<br />

<strong>Contemporary</strong> Masters <strong>Vol</strong>ume 7 & 8 and others.<br />

http://www.rodseeleyart.com/<br />

62 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Curious<br />

Over the last several years my artwork has won<br />

many awards both online and at Regional Juried<br />

Shows but it is taking time for Digital <strong>Art</strong> to<br />

become established as an art form especially by<br />

galleries who frequently feel computer generated<br />

artwork doesn’t match up with other traditional<br />

art forms like oils, watercolor or pastels.<br />

I enjoy creating artwork that is visual and makes<br />

people stop to take closer look. I consider my artwork<br />

to be vibrant “happy art” where the viewer<br />

decides what the subject is and everyone has a different<br />

vision.<br />

http://www.rodseeleyart.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 63


ASHKENASI<br />

Michal Ashkenasi<br />

Red Memories on the Sand<br />

Red Sun<br />

michalsart.com


Abstract Figurative and Minimalistic Paintings<br />

Ten Commandments<br />

michalsart.com


don scott MACDONALD<br />

The elegant canvases of nationally–acclaimed artist Don Scott Macdonald are not simple rec<br />

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

perceived stillness with inherent movement, and expert representation with unearthly abstra<br />

<strong>Art</strong>ist Reception: Friday May 16th, 6-9 pm<br />

Exhibition: May 17 - June 8<br />

miradafineart.com<br />

All Paintings by Don Scott Macdonald.<br />

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


eations of static landscpes.<br />

ly emotive, each painting juxtaposes<br />

ction.<br />

5490 Parmalee Gulch Rd.<br />

Indian Hills, CO 80454<br />

(only minutes from Denver)<br />

www.miradafineart.com<br />

303-697-9006<br />

info@miradafineart.com<br />

miradafineart.com


Terri Holland<br />

“River Rock Cottage & Bluebonnets” Acrylic, 16 x 20<br />

terriholland.artspan.com/


Finding <strong>Art</strong> in Life and Life in <strong>Art</strong><br />

Canyon Ridge<br />

D A L T O N<br />

Judy Wilder Dalton<br />

<strong>Contemporary</strong> <strong>Fine</strong> <strong>Art</strong><br />

judywilderdalton.com<br />

wilderartist.blogspot.com


VL<br />

VL<br />

Corey West Watson<br />

Searching For Someday<br />

The Layered World Of Corey West Watson<br />

by Dave Justus<br />

http://www.coreywest.artspan.com/<br />

70 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


http://www.coreywest.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 71


VL<br />

Studio Visit<br />

Corey Watson<br />

“It sounds so clichéd to say that I was practically<br />

born with a brush in my hand, but it’s the<br />

truth,” says Corey West Watson. Throughout a<br />

childhood spent drawing and painting, Watson<br />

knew she wanted to be an artist. But she had little<br />

idea what such a calling would entail, or how<br />

the journey would test her to her limits.<br />

“I thought being an artist was little more than<br />

creating pretty pictures to hang on people’s<br />

walls. I had no idea the depth of love I would<br />

experience… along with painful loss, and the<br />

struggle of having to forgive incredible violations.”<br />

Watson’s experiences from the playroom<br />

drawings of her youth to the studio paintings of<br />

today gave her, she now realizes, “the drive to<br />

take my art beyond just ‘pretty,’ and into a place<br />

where I would have to pour out my soul.”<br />

That soul finds its expression on her canvases,<br />

in their abstract washes of color or their<br />

layers of mixed media. The processes she has<br />

developed—the “how” and “why” of her creative<br />

expression—find their genesis in her past, in a<br />

story that Watson never imagined she would be<br />

sharing with the world at large. But as interest<br />

in her artwork grows, so too does interest in the<br />

woman behind the signature, and so she has<br />

drawn back the curtain to offer a glimpse.<br />

“There were many people who influenced<br />

me as a person,” she says, “but none more<br />

than Ben. He became my greatest love, and my<br />

deepest pain.” The two met at a young age and<br />

very quickly fell in love. It felt natural for them<br />

to talk about their “someday”—a life, a family,<br />

a home together. But that home couldn’t stand<br />

in the face of the Other Woman who “roared<br />

through my life like a tornado.” Watson watched<br />

helplessly as her relationship began to crumble.<br />

“She was a young woman without moral boundaries,<br />

who didn’t care that he was not available.<br />

He was a young man full of hormones, fear, and<br />

the belief that it was not possible to find the love<br />

of one’s life at 18.” Devastated, Watson removed<br />

herself from the situation, salvaging what pride<br />

she could and moving out of town, abandoning<br />

her happy “someday” in her wake.<br />

“The emotional overflow I was experiencing<br />

had nowhere to go except onto my canvas,”<br />

she recalls. “It felt natural for me to release it<br />

there, since drawing and painting were part of<br />

who I was anyway.” But even as she took up her<br />

brush, she confronted a daunting realization:<br />

For the work to be real, the emotion that went<br />

into it had to be genuine. “I was a shy person,”<br />

Watson admits. “So while I needed the emotional<br />

release my art gave me, the thought of people<br />

seeing my heart and soul poured out onto a<br />

piece of paper terrified me.”<br />

But her pain was too raw to keep bottled… so<br />

instead, she abstracted it. Within a few years,<br />

her work was practically nonobjective. “I was in<br />

love with creating abstract paintings not only for<br />

the challenge it presented, but I felt like it would<br />

give me a way to hide behind my work while secretly<br />

pouring out my heart.” The more she bled<br />

onto the canvas, though, the more people began<br />

to respond to her art, until she had almost<br />

literally painted herself into a corner. “The more<br />

abstract my work became, the more people<br />

asked questions. The more I had to talk about<br />

my work. And the more I realized that it was the<br />

story behind the art that connected them to my<br />

art, and me to them.”<br />

That story was far from finished. A few years<br />

down the line, Watson felt her heart breaking all<br />

over again when she learned that Ben was getting<br />

married… to the Other Woman. Emotions<br />

she had buried in her work came surging to the<br />

surface, and she realized that the only way to<br />

cope with the news was to let him go, to move<br />

on with her own life. She got married as well,<br />

and though some small part of her still loved<br />

Ben and thought of him daily, she knew it was<br />

improper to dwell on those thoughts. “Marriage<br />

meant I had to keep him where he belonged in<br />

my life, which was in the past. I allowed myself a<br />

brief time to reflect on what he was to me… and<br />

again, I went to my art.”<br />

72 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


http://www.coreywest.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 73


VL Studio Visit<br />

Corey Watson<br />

Watson wanted to honor what Ben had meant<br />

to her, the enormous influence he had been on<br />

her life and her work, but she wasn’t quite certain<br />

how to do so. Then she remembered that<br />

she had collected an assortment of handmade<br />

papers back in college, for reasons that had<br />

never been entirely clear to her. Their purpose<br />

crystalized in an instant. “I began to tear and cut<br />

the papers,” she says, “and put them into acrylic<br />

paintings along with other material like ink,<br />

pastel, spray paint, and fabric. My thinking was<br />

that the different materials represented all the<br />

life experiences that I had had,” and that their<br />

inclusion in her art was a way to commemorate<br />

the influence not only of Ben, but of many of the<br />

people who had shaped her life’s course.<br />

“One day, and quite by accident, I began to<br />

cover a painting I had been working on that I did<br />

not like. I found that parts of it were nice when<br />

they were allowed to just peek through.” Watson<br />

sat fixated on the painting for a week, considering<br />

what to do with it next. Over that time, it took<br />

on a much larger, more symbolic meaning for<br />

her. She thought about people as a whole, “how<br />

we all start life as a canvas ready to be filled.<br />

That canvas is built on in layer after layer, developing<br />

who we are. Each layer influences the<br />

next, some areas showing through and others<br />

we choose to cover up and make go away.”<br />

Left Above: Begin Again<br />

Right Above: Crown<br />

http://www.coreywest.artspan.com/<br />

74 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


This idea was so meaningful to her that she<br />

began to adopt the mixed media layering process<br />

for all of her paintings, creating colorful<br />

palimpsests that came alive in the present but<br />

offered glimpses of the past. “All the work I do,<br />

even though it is mostly nonobjective, is life<br />

based in the sense that the materials and the<br />

process I developed all came from life stories,”<br />

Watson says of her methods. “I never have a<br />

specific plan when I begin a painting. I rely on<br />

happy accidents, the element of surprise.” Still,<br />

she adheres to her axiom that only genuine<br />

emotion can produce genuine art: “I work toward<br />

the goal of having a good painting that is<br />

true to who I am, and let it happen as it wants<br />

to. I place a layer on the canvas without specific<br />

intention to cover it, and when it’s ready for<br />

another layer, I add it. I keep covering, adding,<br />

and covering layers until the painting has had<br />

enough ‘experiences’ to feel complete.”<br />

Watson had developed her new art style as<br />

a way to help her process and compartmentalize<br />

her feelings for her lost love. “In a way, it<br />

allowed me to move forward, but in another, to<br />

keep him with me in a way that was not a threat<br />

to the life I chose.” But that life was not finished<br />

adding its layers; her experiences were far from<br />

complete.<br />

“Eventually,” she explains, “both our marriages<br />

ended in divorce. With broken families and broken<br />

hearts, we found our way back to each other.”<br />

Mixed in with her joy at seeing him again, she<br />

felt herself flooded with additional, unexpected<br />

emotions. To her chagrin, Watson learned that<br />

Ben had married “because he thought he blew it<br />

with me, and nobody he asked was willing to tell<br />

him how to find me.” Hearing that he had loved<br />

and missed her during their many years apart,<br />

she felt a rush of anger: “I was hurt and jealous<br />

that he had chosen to have a life, home, and<br />

family with her. Even though I had also moved<br />

on and had a family of my own, it made me feel<br />

guilty at how upset I was that he had a family<br />

that was not part of me. Part of us.”<br />

But there was a grander layer to be painted<br />

on top of this swirl of emotions. Eventually, Watson<br />

says, “I realized that through it all, God was<br />

answering my prayers the whole time.” Those<br />

answers had not always come easily, but there<br />

was no doubt she had received them. “I asked<br />

the Lord to make me an artist,” she explains,<br />

“not just to make me a good painter. He used<br />

Ben as an instrument in my life to create in me<br />

that which could not have existed without the<br />

intense life experiences I had.”<br />

Face to Face 40 x 80<br />

http://www.coreywest.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 75


VL Studio Visit<br />

Corey Watson<br />

Her faith has given her a stability when she<br />

thought she might crumble, and she is grateful<br />

for God’s influence on her life and work. “He is<br />

the only one solid and secure enough to take<br />

our pain and carry us through it. He gives us<br />

outlets to release our pain and share our joy.<br />

He has given me life experience to make me<br />

more understanding as a wife, mom, friend, and<br />

daughter, as well as the understanding to use<br />

what I go through as a tool to become a better<br />

artist.”<br />

At this point in her story, Watson says, “I am<br />

over-the-moon excited that it came around full<br />

circle and that Ben and I are now married. I love<br />

knowing that what we had was real enough to<br />

bring us back together after fifteen years apart.<br />

I am blessed because of the second chance<br />

we’ve been given, and I look forward to what<br />

our future holds.” Though she acknowledges<br />

that the path they walked to reach this point<br />

hasn’t always been pretty, she is certain that,<br />

through its highs and lows, “it has created a<br />

bond between us, and a drive to be successful<br />

together.”<br />

Of her husband, Watson muses, “I can honestly<br />

say that he is the one person who gave me the<br />

gift of becoming the artist I am, more than anyone<br />

else in my life. To this day I am not sure he<br />

knows how much he blessed my life.” It’s clear<br />

that the pain of his absence was as much an<br />

influence on her art as the joy of their reunion,<br />

and the love between them that never died.<br />

Thinking back to that youth with the brush in her<br />

hand, Watson is circumspect in her reflections.<br />

“As a child, had I known what I would go through<br />

that would make me the artist I was praying to<br />

be, I would have run as fast as I could the other<br />

way. As an adult, having lived through all I have<br />

and seeing the blessings it brought me in all areas<br />

of my life—not just as an artist—I would live<br />

it all over again.”<br />

It may have taken years, a great deal of pain,<br />

a multitude of layers… but Corey West Watson<br />

finally reached her “someday.” And the experience<br />

has prepared her to make the most of<br />

every day after.<br />

Skinny Dipping 48 x 48<br />

Out of Ashes 48 x 36<br />

http://www.coreywest.artspan.com/<br />

76 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Embracell 36 x 36<br />

Fragrant 36 x 36<br />

http://www.coreywest.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 77


VL Studio Visit<br />

Corey Watson<br />

We Belong Together 40 x 30<br />

White Day 24 x 24<br />

http://www.coreywest.artspan.com/<br />

Three Trees 24 x 30 Wishes 24 x 18<br />

78 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


We Belong Together<br />

http://www.coreywest.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 79


CHAPMAN<br />

Elizabeth Chapman<br />

<strong>Contemporary</strong> Abstract <strong>Art</strong>ist<br />

melizabethchapman.artspan.com


melizabethchapman.artspan.com


http://www.brightstroke.com


VL<br />

BIRGIT HUTTEMANN- HOLZ<br />

Aeon (Touch Down), 16”x16”, encaustic on panel, 2012<br />

http://www.brightstroke.com/


VL <strong>Art</strong>span Studio Visit Birgit Huttemann-Holz<br />

Spring 2014<br />

Detroit: Inside the Pioneer Building, Studio 303.<br />

It is still frigid outside, a city frozen almost solid.<br />

I open the door to my sanctuary, turn on the<br />

light, plug in my electric tools, and turn on the<br />

heater.<br />

I connect my IPod, listen a moment to myself,<br />

select the music and turn up the volume. Ready!<br />

I step into the U-form of my working space. It<br />

surrounds me and allows me to concentrate on<br />

my art, not finding things. On the right are my<br />

paint griddle and electric skillets, my pigments<br />

and waxy brushes.<br />

On my left are oil paints, oil sticks, oil pastels,<br />

and brushes with a blue tape on their handle.<br />

The blue tape reminds me to not dip them in<br />

wax! For now, directly in front of me, is a large<br />

architectural drawing table placed horizontally<br />

position. About 5 meters behind me stands a<br />

large mirror. I only have to turn around to get a<br />

distant glance of my painting so that I can view<br />

and critique my work. One, no, two more things<br />

- I coat my hands with barrier cream and fasten<br />

the apron behind my back. Maybe that is my<br />

daily routine. Every other move is dictated by<br />

my soul, and my dreams. I am talking about my<br />

work - it’s a love affair!<br />

Today, I went downtown before coming to the<br />

studio and bought some cobalt blue oil paint. I<br />

can’t wait to get my hands into that startling deep<br />

blue. Yes, “Mother Nature is my competition!” I<br />

start with clear encaustic layers on my wooden<br />

panel. I torch, scrape away the excess wax with<br />

my razorblades and start anew. After two layers I<br />

add some pigments to my wax. Layer after layer<br />

I build the foundation, then the background, it is<br />

now that I and set the temperament of the painting.<br />

Then I start with the outlines and followed<br />

by shadows. Today, it is black, straight from the<br />

tube, oil, glistening, as thick as my pinky, a bit<br />

of linseed oil, pouring, generous and then brush<br />

work: Bold, playful, but with many exclamation<br />

marks!! It’s a dance that only just begins. I turn<br />

and add wax again, burnt umber on top. And so<br />

it goes back and forth. In between, I fuse everything<br />

with my Iwatani torch, a furious little thing.<br />

I do not use propane. I use butane, a very hot<br />

merciless flame, a flame for the impatient, impetuous<br />

dare devil. Firedrake!<br />

<strong>No</strong>w, the detail - cobalt blue of course! I push<br />

the oily paint directly on my fingertips - sometimes,<br />

I am wearing gloves, but not today! It is<br />

a sensory overload. I flick the paint, smear, set<br />

accents, wipe , mix, add wax , torch it, burn in,<br />

let it pool, scrape away, cover, reveal.<br />

It is my ‘Fascinosum’. And the best of all Gestural<br />

painting! Movement, storm, impact, sweeping,<br />

bulging, ripping apart, prying open, with a<br />

high arc flying across the plane.<br />

Mighty paintings – ‘Sturm und Drang’ (storm and<br />

stress) - they plea: Be careful! At the same time<br />

they wave you over and whisper: Come join! Be<br />

unrestrained!<br />

An abstract landscape. Cross-border breed, lyrical,<br />

upside down. Scratched, incised agitation,<br />

reflection, fly-fishing for urgrunds (primal cause<br />

or ultimate cosmic principle).<br />

Rising water. A falling flower bud will slay you!<br />

Beauty and abyss! Excessive curiosity, spellbound,<br />

trance.<br />

Snap shots of nature at its best!<br />

Storm, decay, ambiguity, explosion, flood,<br />

death, devotion, surrender, capitulation.<br />

An org*** mix of decline and resurrection.<br />

Guess Who am I<br />

A painter of moments, holding uncertainty, foreboding,<br />

calling you to rethink:<br />

It could be different. Alas!<br />

A master thief of split seconds. Moments ago.<br />

http://www.brightstroke.com<br />

84 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


http://www.brightstroke.com<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 85


VL<br />

<strong>Art</strong>span Studio Visit Birgit Huttemann-Holz<br />

Series: The Truth Lies Elsewhere<br />

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

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

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

http://www.brightstroke.com/<br />

86 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


http://www.brightstroke.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 87


VL <strong>Art</strong>span Studio Visit Birgit Huttemann-Holz<br />

Series: The Truth Lies Elsewhere<br />

Renaissance, 20”x20”, encaustic and oil on panel, 2014<br />

http://www.brightstroke.com/<br />

88 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Through the Thicket past the Blue, 20”x20”, encaustic and oil on panel, 2014<br />

http://www.brightstroke.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 89


VL <strong>Art</strong>span Studio Visit Birgit Huttemann-Holz<br />

Series: Aeon<br />

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

Center: Aeon (Touch Down), 16”x16”, encaustic on panel, 2012<br />

Right Page: Aeon (Passage) 16”x16””, encaustic on panel, 2012<br />

http://www.brightstroke.com/<br />

90 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


http://www.brightstroke.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 91


VL <strong>Art</strong>span Studio Visit Birgit Hutteman-Holz<br />

Series: Aeon<br />

Left Above: Aeon (Catharsis) 16”x16”, encaustic on panel, 2013<br />

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

http://www.brightstroke.com/<br />

92 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


I am exploring our desire for a lost Eden. In our<br />

fast changing world the infinite splendor of the<br />

natural process of entropy and decay becomes<br />

a metaphor for the continuum: A fallen world,<br />

but free to overcome form and purpose. It is just<br />

a state of transition, of change, of evolution.<br />

Failure has a dual nature of its own. It is at once<br />

a leap forward and a fall downward, one that<br />

can only be made by free human beings. The<br />

motivation for such a leap is triggered by curiosity<br />

and/or anxiety about the future and about<br />

being a human itself.<br />

The cycle of nature is endless; a work of art is<br />

an expressed glimpse of the eternal.<br />

Wax and powdered dry pigments have been the<br />

consistent medium in my paintings.<br />

I use fire and razorblades to attack and challenge<br />

my paintings. I leap and fail, but where<br />

creativity and failure dance, I approach the truth.<br />

When I succeed I transcend tragedy and see<br />

the genesis of beauty and the ephemeral.<br />

Birgit Huttemann-Holz, 2014<br />

http://www.brightstroke.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 93


Jeanne Hyland<br />

Signature Member WAOW<br />

Sunflower Glow Watercolor 6” x 8”<br />

JeanneHyland.com<br />

<strong>Fine</strong> <strong>Art</strong> and Instruction<br />

info@JeanneHyland.com


Bringing Life to <strong>Art</strong><br />

“Rufus at the Window” 12 x 16 Pastel<br />

Mary Ann Cherry<br />

Master Signature Member WAOW<br />

MaryAnnCherry.com<br />

email: cherryart@cableone.net


addren doss<br />

WAOW Signature Member<br />

“Up Ahead and to the Right”, oil, 11X14”<br />

Light filled landscapes and intimate pet portraits in oil and pastel.<br />

addrendoss.com


Woodland Picnic Pastel<br />

Debbie Hughbanks<br />

hughbanksart.com


Gloria Chadwick<br />

gloriachadwickartstudio.com<br />

WAOW Associate Member<br />

<strong>Art</strong>ists for Conservation Signature Member


Barbara Ann Jones<br />

WAOW Signature Member<br />

"The Gift of Lilacs" Oil<br />

BarbaraJones<strong>Fine</strong><strong>Art</strong>.com<br />

email: mallie22@sbcglobal.net


VL<br />

Women <strong>Art</strong>ists Of the West 2014<br />

VL<br />

WAOW<br />

100 | VL <strong>Magazine</strong> http://waow.org/<br />

- <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


“WAOWed in San Diego”<br />

http://waow.org/


VL WAOW<br />

http://waow.org<br />

It takes the energy of an Olympic gymnast<br />

for a woman to reach for the highest quality attainable<br />

in the visual arts, to stretch themselves<br />

to achieve that excellence. Painting, drawing,<br />

sculpture—all take time and perseverance to<br />

master. For women, whose workday does not<br />

end when they return home to become the mother,<br />

the housekeeper, the wife, and sometimes<br />

nurse, finding time for their art often means<br />

walking that narrow balance beam between<br />

‘creative time’ and ‘family time’.<br />

Women <strong>Art</strong>ists of the West (WAOW) has over<br />

260 of these remarkable artistic athletes. They<br />

excel in a variety of genres and mediums. Members<br />

work both in their indoor studios and on location,<br />

en plein air. They paint and sculpt still<br />

life and floral, landscapes and seascapes, figures<br />

and portraits, rural life and cityscapes, old<br />

west or contemporary west, wildlife and domestic<br />

animals, even historical events. Some, such<br />

as long-term Emeritus member, Esther Marie<br />

Versch, paint Native American subjects.<br />

Styles vary as well and include abstract, impressionism,<br />

expressionism, realism, representational<br />

and contemporary. Regardless of genre<br />

or medium, the common thread of WAOW artists<br />

is the passion for their work and the desire to<br />

express the joy and beauty of the world around<br />

them. A woman’s place is no longer simply in the<br />

home, but at the easel or the sculpting stand.<br />

They do it all!<br />

Our Beginnings as Women <strong>Art</strong>ists of the<br />

American West . . .<br />

Women <strong>Art</strong>ists of the American West<br />

(WAOAW) was founded in 1971 in <strong>No</strong>rco, California<br />

by a small group of women wanting to<br />

network as professionals and compete in the<br />

world of art. They pooled their efforts and began<br />

promoting their careers with shows and advertising.<br />

WAOAW soon became known for its high<br />

caliber of artists and distinctive western style.<br />

Their debut exhibit was held in Palm Springs,<br />

California. They continued to show in locations<br />

102 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com<br />

such as the Cowgirl Hall of Fame in Fort Worth,<br />

Texas, in Las Vegas, Nevada, and then on to<br />

other areas of the country including New Mexico,<br />

Colorado, Wyoming, Mississippi, and Arizona.<br />

In these early years, the membership was<br />

limited to 35, each of whom played an active<br />

role, investing time and money in shows and<br />

advertisements to promote their professional<br />

growth. Eventually the decision was made to<br />

increase membership in order to support the increasing<br />

demands for financing and coordinating<br />

the group’s activities.<br />

WAOAW artists were known for their western<br />

pieces in various media. However, as many<br />

women artists in non-western genres wanted<br />

to become a part of the group’s legacy, in 1988<br />

the bylaws were changed to embrace additional<br />

genre, subject matter and style. The membership<br />

chose to drop “American” from their name<br />

and became what is known today as Women<br />

<strong>Art</strong>ists of the West.<br />

Women <strong>Art</strong>ists of the West as it is today . . .<br />

This non-profit organization has specific objectives<br />

that include uniting women artists and promoting<br />

appreciation of art created by women.<br />

WAOW still encourages technical excellence by<br />

educating artists and the public both through exhibitions<br />

and workshops. But in its decades of<br />

growth, the group experienced many changes.<br />

WAOW no longer consists of only western artists,<br />

living only in the West. New members are<br />

juried into the group every year, and within the<br />

realm of fine art, the application includes no restriction<br />

on genre, subject matter or location.<br />

The membership of WAOW now encompasses<br />

creative women living across and throughout<br />

the country, with members in more than 30<br />

states and even Canada. Some members live<br />

in remote areas, others in suburbia, the fastpaced<br />

city, or remote rural areas. Regardless,<br />

the organization does its best to provide publicity<br />

opportunities and national awareness for all of<br />

these members through advertising and its web<br />

presence.and annual exhibitions.<br />

http://waow.org/


Cecy Turner “Copeland Falls” Oil<br />

Betty Gates “Spring Water” Oil<br />

Cecy Turner “Untamed Majesty” Oil


VL<br />

WAOW<br />

Betty Gates “Riverbank Rendezvous” Oil<br />

Kim Shaklee “Thunder”<br />

104 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


B.J. Billups “Balboa Lilies” Oil<br />

Betty Gates “Poetry” Oil<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 105


VL WAOW<br />

Linda Walker “Out on a Log” Oil<br />

Linda Walker “Brahma Mama” Oil<br />

Amy Evans “Last Standing” Oil<br />

Kim Shaklee - Alcatraz<br />

http://waow.org/<br />

106 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


WAOW appreciates <strong>Visual</strong> <strong>Language</strong> <strong>Magazine</strong><br />

for the opportunity to share past history<br />

as well as current information on the large and<br />

exciting upcoming show, an exhibition in California.<br />

“WAOWed in San Diego”<br />

Women <strong>Art</strong>ists of the West 44th National Juried<br />

Exhibition<br />

Women’s Museum of California<br />

2730 Historic Decatur Road, Barracks 16, San<br />

Diego, California<br />

Show dates: May 2 through May 31, 2014<br />

Opening Reception: Friday, May 2 from 5pm to<br />

8pm<br />

The public is invited.<br />

The fine artwork of various genres and mediums<br />

in this exhibition has been through a stringent<br />

selection process, and the members who<br />

have already been juried into this prestigious organization<br />

must then be juried into the show as<br />

well. If you cannot attend be sure to visit www.<br />

waow.org and enjoy their online catalogue once<br />

the show opens.<br />

For further details visit http://womensmuseumca.org/<br />

or one of the following contacts:<br />

Show Chair - Debbie Hughbanks<br />

Assistant Show Chair - Gloria Chadwick<br />

National Publicity Chair - Addren Doss<br />

WAOW is also delighted to introduce our new<br />

Master Signature members, B. R. Gates and<br />

Cecy Turner, and new Emeritus member, Linda<br />

Walker.<br />

Master Signature member, B.R. Gates (Betty)<br />

from Fort Worth, Texas, has had work exhibited<br />

in such prestigious locations as the House of<br />

Representatives in Washington, D.C., and the<br />

Lincoln Center in New York. She has also exhibited<br />

in the Phippen Museum, the Reagan Library<br />

and Museum, the Gilcrease Museum and was<br />

a “Special Guest of Honor” at the Sun-Yet-Sen<br />

Memorial Hall in Taipei, Taiwan where her painting<br />

hangs in their permanent collection. Betty<br />

was Women <strong>Art</strong>ist of the West’s Best of Show<br />

winner in 2013 at the exhibition in Estes Park,<br />

Colorado.<br />

Cecy Turner, another recent recipient of Master<br />

Signature status, has her studio in Dallas,<br />

Texas. She was chosen by Southwest <strong>Art</strong> <strong>Magazine</strong><br />

as an “<strong>Art</strong>ist to Watch” in 2006. Her work<br />

has been featured in many other national magazines.<br />

Cecy Turner is also a Signature Member<br />

of the National Watercolor Society, Southwestern<br />

Watercolor Society, National Oil and Acrylic<br />

Painters Society, Outdoor Painters Society,<br />

Plein Air <strong>Art</strong>ists Colorado, American Plains <strong>Art</strong>ists,<br />

as well as a Fellow in the American <strong>Art</strong>ists<br />

Professional League.<br />

Linda Walker is WAOW’s new Emeritus member.<br />

Linda, from Bemidji, Minnesota, was The<br />

Gold Medal winner for the 2010 San Dimas<br />

Wildlife Festival, San Dimas, California. She has<br />

also been included in Oil Painters of America<br />

shows. Linda focuses mainly on wildlife and domestic<br />

animals, and strives to “tell a story” with<br />

her paintings.<br />

Again, Women <strong>Art</strong>ists of the West thanks <strong>Visual</strong><br />

<strong>Language</strong> for the opportunity to showcase<br />

their work. While these new Emeritus and Master<br />

Signature members are all painters, their paintings<br />

are very different in subject matter. Where it<br />

counts—in the professionalism of their visibility<br />

as fine artists and in the excellence of their creative<br />

work—as WAOW members do across the<br />

country, these women find a common ground.<br />

http://waow.org/


Susan Smolensky<br />

susansmolenskyfineart.com<br />

Ballerina #10 / Oil On Linen/ 20 x 16<br />

Women <strong>Art</strong>ists of the West 44th National Exhibition


Nancee Jean Busse<br />

Associate Member of WAOW<br />

Red Flowers, Long Light Acrylic, 16x20<br />

nanceejean.com<br />

facebook.com/nanceejeanbusse


Stacey Pollard<br />

"Barns" 24 X 36 Acrylic, Mixed-Media on Board<br />

www.slhpollard.com<br />

"Island View" Acryilc Mixed-Media on Board


"Blue" 30 X 40 Acrylic, Mixed-Media on Board<br />

Looking Beyond<br />

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

also add texture with handmade papers or other materials. Grid marks, sketch lines,<br />

and remnants of materials remain embedded in the work, so that some marks from<br />

every layer are in the finished piece. I am interested in changing the representational<br />

image at the beginning into something more abstract.”<br />

slhpollard.com


Laura Reed<br />

Abstract Collage P<br />

Elements III<br />

laurareed.artspan.com


aintings<br />

Life Experiences<br />

Elements IV<br />

laurareed.artspan.com


VL<br />

ABSTRACTION<br />

Barry Scharf<br />

http://barrywscharf.squarespace.com/<br />

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VL<br />

Barry Scharf<br />

Abstract art is a proven and respected form<br />

of expression.<br />

As an artist I often feel reality is highly over rated.<br />

Realism often bores me; Super-realism though<br />

technically difficult when done well, often leaves<br />

me feeling flat and unfulfilled. And now there<br />

is so much visually real media I am wondering<br />

what to make of it all.<br />

“I must be getting old. Here I am living in an era<br />

of new technological wonders where every Tom,<br />

Dick and Harry has the tools to capture images.<br />

It is the era of the “Selfie”. Smart phone cameras<br />

everywhere are capturing the realism of everything<br />

in our every day lives. Hay look… here is a<br />

picture of what I had for dinner (posted on Facebook)<br />

and look at where in the world I am now!<br />

(As if just being somewhere in it self was the<br />

accomplishment.) We are filling the world with<br />

images of meaningless moments from every aspect<br />

of human reality and sharing it with anyone<br />

and everyone. I am wondering if any of this reality<br />

sharing has value to the art world A cacophony<br />

of visual imagery with so little meaning… is<br />

the creative artists in danger of loosing our place<br />

to define visual value in a sea of mediocrity <strong>Art</strong>ists,<br />

galleries, museum curators, critics and collectors<br />

have always been the standard to define<br />

quality in the arts. I see no reason to change that<br />

standard now.”<br />

Over my creative life I have found that it is only<br />

through the interpretation of reality that things<br />

begin to get interesting to me. Reality is an inspirational<br />

starting point not a conclusion. Many<br />

call this abstraction. The standard definition of<br />

ABSTRACTION is to use a visual language of<br />

design elements that may exist with a degree<br />

of independence from visual reality in the world.<br />

For example how we see a rose is different for<br />

each of us. To some it is the smell or shape of<br />

the petals; to others it is the color. Some might<br />

sense a prick from a sharp thorn in memory and<br />

still others might look deeper. The closer we get<br />

the less we see of the whole. Other elements<br />

are revealed, we become immersed in discovery<br />

and we find new meaning as we explore.<br />

Where in this process does the realism of the<br />

flower give way to abstraction Is the closer abstraction<br />

still not the rose And is it still not real<br />

As artists we often search for meaning within<br />

the world of our expression. Clearly it resides at<br />

every level of reality from the most obvious to<br />

the unrecognizable abstraction. I can’t speak for<br />

other image-makers but for me it is essential that<br />

my abstract art have meaning. *Right Page Top<br />

<strong>Art</strong>istic meaning can often be found in the juxtaposition<br />

of forms, in a special relationship of<br />

colors, in the variation of textures. Whatever aspect<br />

of design is used it should be critical to the<br />

meaning of the composition. It is the artist who<br />

approaches the image with an eye of critical finesse,<br />

sensitivity, intellect and skill that makes<br />

it meaningful. These are the hallmarks of good<br />

art and if you add to your work the entire list of<br />

design elements it is possible be epic.<br />

I believe abstraction is the process of awakening<br />

to another reality of perception. Seeing the unseen<br />

and bringing it into consciousness without<br />

needing the ability to understand it all. It is in this<br />

state that the mind can wonder, the heart can<br />

open and the soul can soar. For me this is the<br />

meaning of abstraction within my art.<br />

As an artist skilled in many media, I try to choose<br />

an appropriate creative media form for the content<br />

of my expression. In paint I work from quick<br />

structure sketches and add elements as I go.<br />

Building from simple to complex, general to specific<br />

the image takes form and the content or<br />

message is clarified. In abstraction explanation<br />

is not necessary so the message may be subliminal.<br />

http://barrywscharf.squarespace.com/<br />

116 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


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

was not the reality of the image.<br />

** Abstract 24 Sketch ** Abstract 24<br />

http://barrywscharf.squarespace.com/<br />

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VL<br />

Barry Scharf<br />

Inspiration for abstract works can often be hatched<br />

from real events, sights and sounds. I look for the<br />

emotion behind the reality and try to use that to set<br />

the mood, color and action of a painting. “Angry<br />

Ocean” is just such a painting. Strong geometrics<br />

offset the action and lock the motion to the frame.<br />

Colors are muted in a limited pallet of blues and<br />

grays with strong contrasting values. Small amounts<br />

of complementary colors are sparingly added creating<br />

the high energy visual that makes this work<br />

stand out.<br />

To effectively infer depth, I find that the key to successful<br />

Abstract landscapes require a horizon line.<br />

Forms move in directions that obey an invisible perspective.<br />

There is an implied sky and ground relationship<br />

that gives stability to the contents.<br />

.<br />

City by Day<br />

Angry Ocean<br />

“City by Day” conveys these principles and defines<br />

my approach to separating the ethereal from the solid.<br />

Shapes appear to defy gravity with the use of drop<br />

shadows softly airbrushed to imply a light source.<br />

The implication of obeying the physical laws of light<br />

infers a believable existence with the abstract.<br />

“Night Moon” further demonstrates the horizon line<br />

and the possible variables of implied perspective. A<br />

dark negative space supports the brightness of the<br />

moon oval giving focus to the shape.<br />

In “Seattle Waterfront” the view is converted to an<br />

aerial perspective as we look down on the scene<br />

from above. A large cross defines the overall composition;<br />

lesser objects that one might find exploring<br />

the docks of Seattle complete the details. Expressed<br />

through visual shorthand textures abound interpreting<br />

sounds as brush marks, set in contrasts that mirror<br />

their amplitude. Abstract forms eventually emerge<br />

to define the ferryboat and tug boat present but hidden<br />

in within the overall structure.<br />

Night Moon<br />

http://barrywscharf.squarespace.com/<br />

118 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com<br />

Seattle Waterfront


“Composition on Sound” is an early work loosely<br />

defining an ambulance siren as it raced past the<br />

open window of my loft studio in the city. Sound<br />

as motion in color and brush stroke of thick impasto<br />

paint dominate as it cuts across the painting.<br />

A brilliant red color reflects the implied danger at<br />

hand. Acting as supporting characters in a passion<br />

play the other lesser marks are ambient to<br />

the single cutting large horizontal.<br />

Composition on Sound<br />

“The Pond” clearly an abstract inspired by impressionist<br />

techniques moves from a distant horizon<br />

to the lily pad forms of the foreground. The free<br />

shapes and color of the space in between gives<br />

motion to the forms, as if a breeze is blowing.<br />

The Pond<br />

“Exit” is a painted paper construction that explores<br />

textures, colors and pattern within a three<br />

dimensional construction. The overall structure<br />

is relieved through a window to an open sky with<br />

swans flying by. Clearly the swans are not abstract<br />

in this work so the marriage of concepts acts as a<br />

foil giving the viewer a recognizable place to escape<br />

or “Exit” the work.<br />

As I reflect on the concept of “Abstract <strong>Art</strong>” in contemporary<br />

society I can safely conclude that there<br />

is room for the new technology and it can be a<br />

supportive tool to the abstract artist. The ability<br />

to quickly capture imagery that inspires creative<br />

juices is a plus to the details we artists add to<br />

our work. Research and reference work has always<br />

been a component of the creative process.<br />

I for one now embrace the possibilities of my cell<br />

phone camera. I just need to ask a 12 year old<br />

how to use it.<br />

Exit<br />

http://barrywscharf.squarespace.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 119


VL artspan.com<br />

Alison Woods<br />

Utopia Machine 46 x 48<br />

Fragments (Series) 12 x 12<br />

120 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


The Perfect Place to Find <strong>Art</strong><br />

Maelstrom 96 x 132<br />

Big Science Installation<br />

Alison Woods<br />

www.alisonwoods.com


Laurie Justus Pace<br />

LauriePace.com


Mirada<strong>Fine</strong><strong>Art</strong>.com<br />

The Painted Pony Gathering One 32 x 48 Oil on Canvas


http://www.vanessakatzart.com/


VL<br />

Vanessa Katz<br />

Freedom of Abstract<br />

http://www.vanessakatzart.com/


VL<br />

Studio Visit<br />

Vanessa Katz<br />

The Freedom of Abstract<br />

Vanessa Katz was born and raised in England<br />

and now resides in Palm Desert, California. At an<br />

early age she was always fascinated with color<br />

and began painting as a teenager. The art she<br />

created in her youth and early career was comprised<br />

of only very detailed representational work.<br />

She resumed painting full time after her daughter<br />

left home for college. Bored with the confines of<br />

realistic work and with a desire to paint freely, she<br />

began to develop an impressionistic style and to<br />

paint from her imagination. Sometimes dreaming<br />

a painting or simply allowing it to evolve organically<br />

(effortlessly) from within.<br />

Confident and energetic brushwork with bold,<br />

bright, rich colors allow the freedom for her to express<br />

thoughts, feelings and life in a vibrant way.<br />

The people who view Vanessa’s paintings have<br />

commented that her work leaves them feeling<br />

happy and uplifted. “I love the fact that my work<br />

can evoke positive emotions. I am honored and<br />

thrilled. What a privilege”.<br />

Currently Vanessa’s work includes a variety<br />

of subjects from abstracts, landscapes, trees and<br />

animals. One of her passions is to support groups<br />

protecting animal rights and has done a series of<br />

animals on cigar boxes benefitting pet charities.<br />

This series was a perfect match as her husband<br />

has a cigar business and always has many empty<br />

cigar boxes. “They make perfect canvases as<br />

they often have such attractive paper borders<br />

which create a natural frame and I like the effect of<br />

allowing the gold foil from the original cigar label<br />

to show through. I then lacquer them to achieve a<br />

very glossy and attractive finish”.<br />

Vanessa chooses to use different mediums such<br />

as ink, crayon, charcoal and gold leaf. Her preference<br />

is mainly using acrylic, her favorite brands<br />

being Golden and Holbein. She also loves to use<br />

Japanese fine art papers, old postcards, symbols,<br />

old ledger books and letters, in fact most anything<br />

interesting she can get her hands on to add to<br />

her mixed media pieces. “It is very engaging and<br />

exciting for me to experiment with all the various<br />

papers and the like. It is important to me that my<br />

work creates an element of intrigue and wonder.<br />

I attend many workshops to learn new and interesting<br />

techniques from other artists. The journey<br />

of discovery is what amazes me. As an artist the<br />

process of learning while experimenting creates<br />

an internal vibration. It is very empowering and<br />

exciting. “<br />

Painting for Vanessa is all about the expression<br />

of fun and her love of life. She paints with a<br />

sense of ease, serenity and excitement. When<br />

she finds herself struggling to “make it happen”,<br />

she realizes it is time to stop for the day. She<br />

listens to music, paints while standing and moves<br />

and dances to get in the “flow and the zone” and<br />

then hopefully a masterpiece is born!<br />

Her studio is in her home, which allows her<br />

more time to paint. She offers her collectors ‘Take<br />

Tea and See’ by appointment. This is a chance<br />

for them to visit her and see her work up close and<br />

personal. She serves tea (she is English after all<br />

and coffee is offered too).<br />

“You cannot begin to convey the texture, energy,<br />

depth and color of a painting in a photo so<br />

I love when collectors can see and feel the work<br />

in person – it is a completely different experience.<br />

Collectors love to see my studio where the work<br />

actually happens. It gives me a chance to describe<br />

the process of creating the work of art and<br />

share a connection with my collectors”.<br />

http://www.vanessakatzart.com/<br />

126 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Fixation<br />

http://www.vanessakatzart.com/<br />

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VL<br />

Studio Visit<br />

Vanessa Katz<br />

Vision Rouge<br />

Between Dreams<br />

Right Page: Wonder<br />

http://www.vanessakatzart.com/<br />

128 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


http://www.vanessakatzart.com/<br />

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VL<br />

Studio Visit<br />

Vanessa Katz<br />

Gallery View<br />

The life of a successful artist includes a great<br />

deal of time networking, marketing and being on<br />

the computer, which Vanessa embraces and enjoys.<br />

She has a website and an active Facebook<br />

page. She has built a large following on Facebook<br />

in which she is constantly sharing her own work<br />

and in addition features other artists and interesting<br />

art related stories. She strives to make it interesting,<br />

inspiring and to allow a glimpse into the<br />

life of an artist.<br />

Vanessa truly shares her love of painting in her<br />

work. She invites you to visit her website:<br />

www.VanessaKatz<strong>Art</strong>.com<br />

and / or connect with her on her Facebook Page<br />

www.Facebook.com/Abstract<strong>Art</strong>4U<br />

http://www.vanessakatzart.com/<br />

130 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com<br />

Right Page: Flow


http://www.vanessakatzart.com/<br />

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Kyle Wood<br />

kwoodfineart.com<br />

132 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com<br />

kylewoodfineart.blogspot.com


kwoodfineart.com<br />

"Beyond The Gate II"<br />

18" x 24" Oil on Canvas<br />

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134 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com<br />

KimberlyConrad<strong>Fine</strong><strong>Art</strong>.com


Kimberly Conrad<br />

“Pouring Color Into Your Life”<br />

KimberlyConrad<strong>Fine</strong><strong>Art</strong>.com<br />

KimberlyConrad<strong>Fine</strong><strong>Art</strong>.com<br />

Dreaming 48”x36”x1.5”<br />

Acrylic on Canvas<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 135


VL<br />

Nancy Bossert<br />

ARTSPAN <strong>Art</strong>ist Spotlight<br />

When did you realize you loved art and wanted to be an artist<br />

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

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

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

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

was Dorothea Builder.<br />

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

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

of desolate spaces. They are technically proficient and encourage the viewer to question the scene<br />

from multiple principles.<br />

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

yourself.<br />

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

free.<br />

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

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

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

nature, and technique can take over.<br />

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

there is a need to balance these colorations with compliments.<br />

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

days.<br />

What is the one thing you would like to be remembered for<br />

Craftsmanship<br />

There are many culprits that can crush creativity, such as distractions, self-doubt and fear of<br />

failure. What tends to stand in the way of your creativity <strong>No</strong>rmal family obligations.<br />

How do you overcome these obstacles Understanding that these moments happen in everyone’s<br />

life, so make the situation positive<br />

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

Which work of yours is your favorite Paintings of my daughter<br />

136 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Eye’m Wide Awake Acrylic 20 x 16<br />

Where’s Brother Charley<br />

https://nancybossert.artspan.com/<br />

https://nancybossert.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 137


VL<br />

Nancy Bossert<br />

ARTSPAN <strong>Art</strong>ist Spotlight<br />

Awakening<br />

Right Page: Holding Onto Hope<br />

https://nancybossert.artspan.com/<br />

138 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


https://nancybossert.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 139


VL Nancy Bossert<br />

ARTSPAN <strong>Art</strong>ist Spotlight<br />

Generational Frequency<br />

https://nancybossert.artspan.com/<br />

140 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Neighborhood Meeting<br />

https://nancybossert.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 141


VL<br />

Nancy Bossert<br />

ARTSPAN <strong>Art</strong>ist Spotlight<br />

Crochet<br />

https://nancybossert.artspan.com/<br />

142 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Jewelry<br />

https://nancybossert.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 143


VL Nancy Bossert<br />

ARTSPAN <strong>Art</strong>ist Spotlight<br />

Getting to know you Q&A<br />

What is your favorite color in your closet Brown<br />

What book are you reading this week I am a news junkie<br />

Do you have a favorite television show Currently: Sons of Anarchy and Project runway<br />

What color sheets are on your bed right now Cream<br />

What are you most proud of in your life My marriage and my children<br />

Who would you love to interview <strong>No</strong>t interview, but to have a conversation with the<br />

Pope<br />

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

Who would you love to paint My husband<br />

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

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

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

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

stranded somewhere just because of my desire…..Crochet hooks, wine. <strong>No</strong>t really great<br />

choices.<br />

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

this year.<br />

If you could live anywhere in the world, where would you live I love Easton.<br />

https://nancybossert.artspan.com/<br />

144 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


My Voice<br />

https://nancybossert.artspan.com/<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 145


Mary Jo Zorad<br />

contemporary fine art


Zorad<strong>Art</strong>.com


DAILY PAINTERS ABSTRACT GALLERY<br />

DailyPaintersAbstract.blogspot.com<br />

Kris Miller


Color Composition Creativity<br />

DailyPaintersAbstract.blogspot.com<br />

Barbara Van Rooyan Blue Canyon II<br />

Kris Miller<br />

DailyPaintersAbstract.blogspot.com<br />

DailyPaintersAbstract.blogspot.com


CFAI.co <strong>Art</strong>ist Showdown<br />

CFAI.co <strong>Art</strong>ist Showdown<br />

March 2014 - Mixed Media, Encaustic, & Digital <strong>Art</strong><br />

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

First Place<br />

Arlene Woo<br />

Flute Player<br />

http://arlenewoo.blogspot.com<br />

150 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


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

Lion Portrait by Arlene Woo<br />

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

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 151


CFAI.co <strong>Art</strong>ist Showdown<br />

Second Place<br />

Donna L. Martin<br />

Take Heart<br />

http://donnamartinfineart.com<br />

152 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Third Place<br />

Ezshwan Winding<br />

Receiving<br />

http://ezshwan.com<br />

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

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 153


DianeWhitehead.com


Diane<br />

Whitehead<br />

“Animals are my muse. The scratch<br />

of the paw, pounce of a hoof, gesture<br />

of the head, alert ear, quiet stride,<br />

powerful shape, ancient wisdom.<br />

All come to play with the shapes I see<br />

as I paint. “<br />

DianeWhitehead.com<br />

DianeWhitehead.com


Lary Lemons<br />

theartgallerysaintjo.com


theartgallerysaintjo.com


CFAI.co May <strong>Art</strong>ist Showdown<br />

“Do you have what it takes”<br />

Kimberly Conrad<br />

“Maritime and Seascape <strong>Art</strong>”<br />

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


cfai.co<br />

Spring 2014 Juried Competition<br />

“Figurative”<br />

Mary Opat<br />

Deadline is May 15th.<br />

$500 in total cash prizes<br />

Plus much more!<br />

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


Be Brave Mixed Media 20 x 30


Lisa-McKinney.com<br />

lisamckinneyfineart.blogspot.com


VL<br />

Photographer Spotlight <strong>Art</strong>span<br />

Robert LeBlanc<br />

http://robertphotoart.com<br />

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Cityscape<br />

http://robertphotoart.com<br />

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VL Photographer Spotlight <strong>Art</strong>span<br />

Robert LeBlanc<br />

“Photography for me creates a profound relationship between sensitivity, observation, and<br />

reality. As a photographer my intentions are to create serene compositions in an effort to<br />

promote contemplation from the viewer.<br />

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

however my purpose in creating meaningful photographs is purely driven by passion where I<br />

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

The harmony of varying tones, contrasts, textures and colors that the light presents fascinates<br />

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

to bring a visual notion into reality calls for thoughtful contemplation and sensitivity to the<br />

ambiance of my surroundings.” Robert LeBlanc<br />

Dock of the Bay<br />

http://robertphotoart.com<br />

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Hot <strong>No</strong>vel<br />

http://robertphotoart.com<br />

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VL Photographer Spotlight <strong>Art</strong>span<br />

Robert LeBlanc<br />

Nature’s <strong>Art</strong>work<br />

http://robertphotoart.com<br />

166 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Lone Tree<br />

http://robertphotoart.com<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 167


VL Photographer Spotlight <strong>Art</strong>span<br />

Robert LeBlanc<br />

The Dance<br />

http://robertphotoart.com<br />

168 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Beach Comber<br />

Cold Beach<br />

http://robertphotoart.com<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 169


VL Photographer Spotlight <strong>Art</strong>span<br />

Robert LeBlanc<br />

Love it or List it<br />

The Playground<br />

http://robertphotoart.com<br />

170 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


Three Musketeers<br />

Misty Morning<br />

http://robertphotoart.com<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 171


Concho River<br />

Alejandro Castanon<br />

www.vinod<br />

www.vinodipinte.com<br />

Vino Dipinte <strong>Art</strong> Gallery<br />

602 Orient St San Angelo, TX 76903


Texas Theater<br />

Alejandro Castanon<br />

ipinte.com<br />

www.vinodipinte.com


KRISTINE KAINER<br />

Texas <strong>Art</strong>ist<br />

www.kristinekainer.com<br />

www.kristinekainer.blogspot.com


artists<br />

of texas<br />

artistsoftexas.org<br />

176 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com


NO WHERE BUT TEXAS<br />

artistsoftexas.blogspot.com<br />

dailypaintersoftexas.blogspot.com<br />

<strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com - VL <strong>Magazine</strong> | 177


Debbie Grayson Lincoln<br />

Texas <strong>Contemporary</strong> Western Illustrator<br />

<strong>No</strong>worNever-Debbie.blogspot.com<br />

DebbieLincoln.com


Felicia Marshall<br />

feliciamarshall.blogspot.com


Advertisers<br />

Addren Doss 96<br />

Alejandro Castanon 172<br />

Alison Woods 120<br />

Arlene Woo 44<br />

<strong>Art</strong>ists of Texas 176<br />

Barbara Ann Jones 99<br />

Barry Scharf 114<br />

Birgit Huttemann-Holz 82<br />

Carol Brody 47<br />

Corey West Watson 70<br />

Daily Painters Abstract Gallery 148<br />

Davis and Company <strong>Art</strong> Gallery 42<br />

Debbie Grayson Lincoln 178<br />

Debbie Hughbanks 97<br />

Diane Whitehead 154<br />

Elaine Vileria 38<br />

Elizabeth Chapman 80<br />

Eric Bodtker 52<br />

Felicia Marshall 179<br />

Gloria Chadwick 98<br />

Ines Fugina Malnar 26<br />

Janine Kilty 28<br />

Jeanne Hyland 94<br />

Jonelle T McCoy 51<br />

Judy Wilder Dalton 3, 69<br />

Kimberly Conrad 22,134<br />

Kristine Kainer 174<br />

Kyle Wood 132<br />

Lady L 183<br />

Laura Reed 112<br />

Laurie Justus Pace 122<br />

Lelija Roy 49<br />

Linda McCoy 15<br />

Lisa McKinney 160<br />

Mary Ann Cherry 95<br />

Mary Jo Zorad 146<br />

Melissa Doron 30<br />

Michal Ashkenasi 64<br />

Mirada <strong>Fine</strong> <strong>Art</strong> 66<br />

Nancee Jean Busse 109<br />

Nancy Bossert 136<br />

Phyllis Mantik Dequevedo 40<br />

Richard Levine 46<br />

Robert LeBlanc 162<br />

Rod Seeley 54<br />

Roseanne Snyder 50<br />

Sanda Manuila 39<br />

Simon Kenny 18<br />

Stacey Pollard 110<br />

Stephanie Paige 36<br />

Susan Smolensky 108<br />

Suzy Pal Powell 32<br />

Terri Holland 68<br />

Terrye Philley 14<br />

The <strong>Art</strong> Gallery 156<br />

Valerie Travers 12<br />

Vanessa Katz 124<br />

Victoria Pendragon 53<br />

Vino Dipinte Gallery 173<br />

VL Rees 37<br />

WAOW 100


Lady<br />

L<br />

She began painting at age 3 in the studio of her grandmother, <strong>Art</strong>ist<br />

Laurie Pace. She carries the passion for art and painting. Already<br />

saving for college, she has her work available online:<br />

http://www.ellepace.com/available-work-of-lady-l/


http://davethepaintingguy.com/podcast/<br />

182 | VL <strong>Magazine</strong> - <strong>Visual</strong><strong>Language</strong><strong>Magazine</strong>.com

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