Visual Language Magazine Contemporary Fine Art Vol 3 no 9
Vol 3 No 9 Visual Language Magazine Contemporary Fine Art featuring Wildlife, Equine Art and more. Cover Artists is Texas Artist James Loveless. Featured are the VL top artists to collect Isabelle Gautier, Lelija Roy, Linda McCoy, Bob Coonts, and Alejandro Castanon; CFAI Colors on My Palette, Patricia A. Griffin; Visual Language studio visit with Marcia Baldwin, James Loveless, Milton Wagoner and J. W. Burke; Barry W. Scharf shares American Artist Today; Artspan Spotlight with Jan Sasser; CFAI.co Art Showdown; VL Photographer Fran J Scott. 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.
Vol 3 No 9 Visual Language Magazine Contemporary Fine Art featuring Wildlife, Equine Art and more. Cover Artists is Texas Artist James Loveless. Featured are the VL top artists to collect Isabelle Gautier, Lelija Roy, Linda McCoy, Bob Coonts, and Alejandro Castanon; CFAI Colors on My Palette, Patricia A. Griffin; Visual Language studio visit with Marcia Baldwin, James Loveless, Milton Wagoner and J. W. Burke; Barry W. Scharf shares American Artist Today; Artspan Spotlight with Jan Sasser; CFAI.co Art Showdown; VL Photographer Fran J Scott. 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>Art</strong>span Spotlight Jan Sasser<br />
ARTSPAN <strong>Art</strong>ist Spotlight<br />
When did you realize you loved art and wanted to be an artist<br />
I can’t recall a time when I wasn’t aware I loved art. Books, music, and visual arts were all valued in my<br />
family. As a child, I loved to draw and was inspired by the sketching of an older sister as well as my great<br />
uncle’s amateur painting and sculpting. When I asked for quality drawing supplies they were given, along<br />
with the imperative to treat them with respect and practice basic skills first.<br />
However, family role models made their living in “more practical ways”. I didn’t conceive of art as a career<br />
choice until much later in life. I flirted with the idea of applied art as a young adult, but didn’t actually make<br />
the move to painting full time til pushing 50, after many years as a social worker. By that time, the backing<br />
and support of an exceptional spouse made the risk more feasible.<br />
Who has been your mentor, or greatest influence to date<br />
I wouldn’t say I’ve had a mentor per se, though living in Charleston, I’ve had the luxury of example and interaction<br />
with many fine artists. While few are traditional realists like myself, there is always something to learn<br />
from one’s masterful use of color or a<strong>no</strong>ther’s exceptional composition skills. The generosity of successful<br />
artists with technical tips and career advice often amazes me. I’m grateful to Rick Reinert and others who<br />
have nurtured my confidence along the way and “nudged” me at key moments to shoot for a high profile<br />
show or opportunity that paid off.<br />
Who is a<strong>no</strong>ther living artist you admire and why<br />
One of several who come immediately to mind is Mary Whyte, a Charleston watercolor artist of international<br />
re<strong>no</strong>wn. I’ve long admired her mastery of watercolor but did <strong>no</strong>t recognize how exceptional she is until seeing<br />
a major body of her work recently in her “Working South” exhibition. Each piece is an evocative gem of<br />
dynamic composition, rich color and texture, and masterfully rendered images that express the character<br />
and personality of each worker and workplace environment. Pieces are all part of a totally coherent and<br />
integrated concept. It’s as though she “wrote a book in pictures” that tells the tale of a disappearing way of<br />
life and makes you feel you k<strong>no</strong>w all the characters. How can you fail to admire an artist who can do that<br />
What is your favorite surface to create work on or to work with Describe it if you make it yourself.<br />
I paint on prestretched primed canvas or linen. As a slow painter, I find these far too satisfying to be tempted<br />
to invest time in making or preparing my own. I love the “spring” of canvas against my touch. A good even<br />
medium tooth weave interacts beautifully with my brushes and varying strokes to create textural illusions<br />
while still being “flat” e<strong>no</strong>ugh to allow precise lines and details when needed.<br />
What are your favorite materials to use<br />
Simply, professional grade Winsor Newton Oils, odorless mineral spirits for solvent, and refined linseed oil<br />
as a medium. For brushes I like hog bristle for underpainting and certain textures. I like soft red sables for<br />
details, clouds, blending edges, etc.<br />
What are your inspirations for your work<br />
I doubt you’ll be surprised when I say nature is my inspiration. Nature has always been a source of joy and<br />
renewal for me, where I am the most at peace. My husband and I love to walk, visit local rookeries and<br />
gardens, and travel to scenic areas when we get the chance. I’m always moved to share what I experience<br />
in my paintings.<br />
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