Visual Language Magazine Contemporary Fine Art Vol 4 No 1

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Visual Language 

Andrew Baird 

BairdStudios.com 

VL 

Features: Andrew Baird . Slav Krivoshiev . Sallie-Anne Swift . Demian Dressler . Elizabeth Chapman 

January 2015 Volume 4 No. 1 

contemporary fine art

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visual language 

contemporary fine art 

VisualLanguageMagazine.com 

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January 2015 Vol 4 No 1 

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Andy Baird . Baird Studios 

VL Cover Artist 

Portrait Painting 

By using abstract expressionist technique to compose the most beautiful female faces, Baird also 

reminds us that – while soul may be divine and eternal – even the prettiest face is a secret, minute 

world of whirling particles, brought together in aesthetic perfection by Great Mother Nature – and 

here enhanced by one of the brightest contemporary artists working in portraiture today. 

By combining the unlikely duo of portraiture – which thrives on likenesses and naturalness – with 

abstract expressionism – which tries to avoid likenesses and subjects from nature, Andy Baird has 

created a new and original hybrid art form: the action-painted portrait. Such originality and invention 

by mavericks creates new areas of value in art. Baird is one such genius. 

Bairdstudios.com 

VisualLanguageMagazine.com - VL Magazine | 3

Victoria Pendragon 

“Flute Song, Moon” 

victoriapendragon.artspan.com

content VL 

Cover Artist Andrew Baird 3 

Andy Baird A different slant on Portrait Painting. 

Painter’s Keys - Sara Genn 11 

Top Artists to Collect 22 

Vanessa Katz, Valerie Travers, Elaine Vileria 

The Value of Line Andy Baird 50 

I was born in Denver, Colorado. There is a 

thing about being a long-time Colorado family, 

so I like to point out that I am a fifth-generation 

Colorado native. The first Baird came here in 

1867. Colorado has always been my home, 

and I cannot think of any other place as home. 

Sallie-Anne Swift 72 

“Do or Die” 

“We had purchased a new apartment and I was 

wanting to do something special for the entry, so I 

decided to do a HUGE 8’ x 6’ painting… this was 

definitely going to prove to be one of my biggest 

challenges.” 


VL 

Who Stole the Fairy Tales Slav Krivoshiev 96 

“The hidden metaphors in his compositions challenge the viewer to 

look far beyond the surface. His colors and use of texture are metaphors 

in their own right. Yet as one stands before his work warily, so 

exactly does the allegory in the painting mimic the other reality - is it 

the fear one might recognize in a scene expressing a reality kept at 

a distance His works intimately connect places and times of familiar 

stories and myths with unfamiliar visions. 

“A Creative Psychology” 124 

By: Barry W. Scharf 

“Now that we have entered the new year of 2015 

I have been contemplating what makes a person 

creative and how they arrive at an expressive output. 

I often go through thoughts of how I can better 

myself and improve my work and a few questions 

always come to mind. The why and how of what 

makes me an artist.” 

“Interview with Elizabeth Chapman” 132 

At what age did you realize you were an artist 

As long as I can remember I was creating and making 

stuff. I was always an artist but did not realize it until I was 

about 45 and working as a High School art teacher. It was 

there that I realized I was more of an artist than a teacher. 

6 | VL Magazine - VisualLanguageMagazine.com

content VL 

It’s the Little Things that Count Demian Dressler 158 

So, everyone is wanting to know: what is your new 

“mystery medium” What can you share with us about 

how you create your beautifully vibrant abstracts 

Well, the short answer is abstract macro photography, hybridized 

with traditional painting using acrylics, watercolors, 

and whatnot. I apply these painted media on what I call a 

screen, often film, paper or plastic, and then I spend ridiculous 

amounts of time finding the perfect field to capture a 

photographic image. This image is then transferred to panel. 

Many people don’t realize that the photographed field is 

often less than an inch square when they look at the wall 

art. On some of the final works I will add further layers of 

paint, or use chips of diamonds, meteorite dust, rose quartz 

or other minerals, some gold leaf, or whatever lends itself 

Index Directory of Artists and Galleries 180 

In alphabetical order you can easily find all featured artists 

and advertising artists, along with featured galleries in our 

index directory. 


Mark Yearwood 

“After Summer Storm" 48x36 Mixed Media on Canvas 

MarkYearwood.com 

Select Prints available at Nuvango.com/markyearwood

Richard Levine 

Pastel Painter Landscape and Figurative 

“Stonington Harbor” 

www.richardlevine.net 

email: artisanrichard@gmail.com 

Davis & CO Fine Art 

dandcgallery.com

VL 

visual language magazine 

Contemporary Fine Art 

Visual Language Magazine Staff 

Editorial 

Editor -in-Chief Laurie Pace 

Contributing Editor Lisa Neison-Smith 

Consulting Editor Nancy Medina 

Feature Contributor Sara Genn Painter’s Keys 

CFAI Contributor Kimberly Conrad 

Feature Writer Dave Justus 

Feature Editor Art Reviews Hall Groat II 

Feature Contributer Barry Scharf 

VL Sponsor ARTSPAN Eric Sparre 

Advertising 

Contact: VisualLanguageMagazine@gmail.com 

Marketing and Development 

Executive Director Business/Management Stacey Hendren 

All Artwork is Copyrighted by the Individual Artists. 

Visual Language Magazine Vol 4 No 1 

coreywest.artspan.com 

conniechadwell.com 

vlrees.com 


The Painter’s Keys 

Robert and Sara Genn 

January 2015 

Robert Genn’s 

Studio Book 

I’m standing in a white room with a digital projector that blasts a square of white light on a white wall. In the centre is 

a shaky drawing of a light switch. A cartoon finger comes up from the lower left hand corner and flips the switch. The 

projection goes black, then light, then black, then light, while an accompanying soundtrack reverberates off the walls, 

“Click. Clack. Click. Clack.” 

Someone mutters, “He’s taking a swipe at that guy who won the Turner.” “What guy” asks his friend. “You know, The 

Lights Going On and Off Guy.” The Turner Prize, named for J. M. W. Turner is presented annually to a British artist 

under 50. Organized by the Tate, the winner gets £40,000. In 2001, Martin Creed won for his installation, Work No. 

227: the lights going on and off, in which lights in an empty room go on and off at 5 second intervals. 

Today at the National Gallery of Victoria in Melbourne, the work of Scottish artist David Shrigley is showing. To give 

you an idea, we’ve put some examples of his work here. In addition to Light Switch, 2007, the show includes a robot 

vacuum with felt tipped pens attached to it, which drives around making drawings on the floor, an inflatable, badly-drawn 

swan, and a wall painting of a black dot. There’s also a room that invites museum-goers to take part in a life 

drawing session, though the model isn’t live. Instead, a disproportionate sculpture of an anatomically awkward man is 

the focus. At timed intervals it blinks and releases liquid into a bucket at its feet. Visitors apply themselves earnestly to 

their masterpieces, with a museum docent on hand to replenish supplies of paper and pastels. 

The Painter’s Keys - Sara Genn 

Out in the foyer, the artist has built a freestanding gift shop and stocked it with tea towels, buttons, books and postcards. 

“He’s saying what everyone’s feeling,” someone whispers near the cash register. I fondle a button that reads, “I 

speak for everyone.” 

Sincerely, 

Sara 

PS: “At a time when political correctness is valued over honesty I would also like to say “Right on!” (Madonna, on live 

television, while handing Martin Creed the Turner Prize for Work No. 227: the lights going on and off) 

“In the end, everything is a gag.” (Charlie Chaplin) 

“Wit is educated insolence.” (Aristotle) 

Esoterica: Also on view at The National Gallery of Victoria is the first retrospective of the work of French fashion designer 

Jean Paul Gaultier. “Fashion is not art. Never,” says Gaultier. Nevertheless, red spotlights and velvet-lined rooms 

showcase the designer’s underwear-as-outerwear, man-skirts, garbage bag dress, kilts made from flea market finds, 

mermaid gowns and pink satin cone-shaped bras. “Fashion is about what you look like,” says Gaultier, “which translates 

to what you would like to be like.” Says David Shrigley, “I don’t think I’ve ever made any conscious decision to be a 

comic artist, but to me there’s something quite anarchic about comedy.” As for the Turner Prize -- Shrigley was a finalist 

in 2013. His iphone App Light Switch can be downloaded for free, so that you, too, can turn the lights on and off. 


miradafineart.com 

Andrew Baird 

Nancy 

Original Acrylic on 

Canvas 

53” x 45”

Mirada Fine Art 

is truly proud to 

represent 

andrew 

BAIRD 

5490 Parmalee Gulch Rd. 

Indian Hills, CO 80454 

(only minutes from Denver) 

www.miradafineart.com 

303-697-9006 

info@miradafineart.com 

5490 Parmalee Gulch Rd. 

Indian Hills, CO 80454 

(only minutes from Denver) 

www.miradafineart.com 

303-697-9006 

info@miradafineart.com 

Mirada Fine Art owner Steve Sonen and the work of Andrew Baird.

f i n e a r t 

Life in Motion 

“Tango Charm” 11 x 14 inches Charcoal 

Connie Chadwell 

www.conniechadwell.com

Phyllis DeQuevedo 

“A Work in Progress” 

One Heart 23” H x 4” W x 7” D 

mantikstudio.com

Jonelle T. McCoy 

“Fire Run” 30 x 24 inches 

Blending texture and color 

for an equine portrait with depth and richness. 

jonellemccoy.com

“Forest Path" 

Oil 11" x 14" 

www.caroljosmidt.com 

carol@caroljosmidt.com

Michal Ashkenasi 

“Abstract 1” 

michalsart.com

“Abstract 2” 

Michal Ashkenasi 

Abstract Figurative 

and Minimalistic Paintings 

michalsart.com

Adirondack Series: The Great Range From The Brothers, October 

54” x 84”

John Whitton Bria 

JohnBria.com

VL 

VL 

TOP ARTISTS 

to Watch and Collect 

Vanessa Katz 

Elaine Vileria 


Valerie Travers 

Visual Language Magazine Featured Artists this 

month delve into the beauty of each of our selected 

artists and their unique approach to creativity. 

Vanessa Katz’s Trees, landscapes, animals and 

everyday life provide her with a wealth of subject 

matter and abstraction and contemporary non-representational 

work gives her the freedom to create 

purely from her imagination and emotions. 

Valerie Travers Her subjects are quite varied but 

she is fond of seascapes and skies - they form a 

large part of her work. This is more than likely due 

to the fact that she grew up and lives on the small 

island of Guernsey, surrounded by beautiful beaches. 

Elaine Vileria Although I enjoy working in both 

genres of abstraction and realism, my style in the 

past couple of years, has taken a turn toward surrealism 

and fantasy. In addition to this style, I have 

developed a fondness for the technique of pointillism, 

where the intensity of a color fades, as you 

lessen the dots, or, you simply meld them together 

with another color.

VL 

Vanessa Katz 

www.VanessaKatzArt.com 

Vanessa Katz moved from London, England, to the desert in 

Southern California with her husband, daughter, and doggies 

sixteen years ago. The contrast between the dull, grey, cold, 

rainy days in the city and the bright sunny color in the desert 

was dramatic and was the inspiration to begin painting again 

after a long absence. 

“The sunshine makes everything look so vibrant and alive and 

makes me feel that way too!” 

Trees, landscapes, animals and everyday life provide her with 

a wealth of subject matter and abstraction and contemporary 

non-representational work gives her the freedom to create 

purely from her imagination and emotions. 

“I hope to evoke emotion and a stirring of the heart through my 

work and when my collectors let me know this is their experience, 

it fills my heart with joy knowing how art can connect and 

nourish us at such a deep level”. 

Vanessa attended Putney School of Art in London 

and still attends many workshops to learn 

new techniques from other artists. She finds the 

process of learning while experimenting creates 

much excitement and is very empowering. 

Vanessa invites you to visit her website and her 

very active Facebook page and looks forward to 

seeing you there. 


www.Facebook.com/AbstractArt4U 

“Azure” 30 x 30 


“Shoji 2” 11X14 Collage on Paper 


VL Vanessa Katz 


Infinity 60 X 36 - Acrylic, Ink & Gold Leaf finished with Poured Resin 



VL 

Vanessa Katz 


Perspective 40 x 30 


Eternal 60 X 36 Acrylic on Cradled Wood Board finished with Poured Resin 


VL Valerie Travers 

http://valerietravers.com 

Valerie began her journey into art when very young but it was 22 years ago when she became passionate 

about it. Being at home looking after her two children gave her the opportunity to spend time developing her 

skills. From the very first year, she exhibited and won awards and has continued in that vein ever since. 

Her subjects are quite varied but she is fond of seascapes and skies - they form a large part of her work. This 

is more than likely due to the fact that she grew up and lives on the small island of Guernsey, surrounded by 

beautiful beaches. 

“I paint mostly in oils and acrylics but pastels are also a favourite and I dip into these from time to time. My 

paintings have increased in size over the years and I now paint on canvases measuring approximately 30 x 40 

inches. Obviously if commissioned to paint something smaller I will, but that is my preference. 

I paint intuitively for the most part and often begin by picking up a brush and loading it with whatever colour 

appeals. From there the magic begins and I develop the painting as I go along.” 

Valerie is represented by Davis & Co Gallery, Spring, Houston, Texas. 

Website:- www.valerietravers.com 

Glowing - Oil on Canvas - 24 X 30 


Fire in the Sky - Oil on Canvas 30 x 20 

Reflective - Oil on Board 25 x 16 


VL 

Valerie Travers 


Holding On a Little Longer - Oil on Canvas - 30 X 40 



VL Valerie Travers 


Spring Optimism - Acrylic on Canvas - 24 x 30 


Disappearing Tide - Oil on Canvas - 30 x 40 


VL 


http://elainevileria.artspan.com 

Over the years, I have had the fortune to teach art, to 

students pre-K through 12th grade. As far back as I 

can remember, I knew that art would be a major relevance 

in my life. My favorite Christmas present of all 

time was an art instruction book, complete with drawing 

paper and pencils, to help me learn to draw. 

Although I enjoy working in both genres of abstraction 

and realism, my style in the past couple of years has 

taken a turn toward surrealism and fantasy. In addition 

to this style, I have developed a fondness for the 

technique of pointillism, where the intensity of a color 

fades as you lessen the dots, or, you simply meld them 

together with another color. 

I have been asked more than once, “How do you come 

up with these ideas How do you envision the subjects 

that you draw”. I guess it would be compared to an 

author writing a fiction or fantasy book, but the idea is 

created in the mind of an artist - and that visualization 

is transformed through the hand and tools of the artist. 

I received my Masters degree from Nazareth College, 

in Rochester, NY. My work has been in exhibitions 

throughout the United States, as well as in 

France. I have solely developed and coordinated 

three art exhibitions for cancer survivors. 

Chromium 6 

The Old Fishing Shed 


Marathon Man 14.5 X 19.5 


VL 



Aspen 19.5 X 18 


Mechanical Creativity 15 x 20 


VL Elaine Vileria 


Solar Eclipse 

Right: 1920’s Dancer 14.5 X 20 



Joyce Pihl 

Fall in the Woods 

Autumn Five 18” x 24” 

Milkweeds With Red 18” x 24” 

http://joycebpihl.org/

Joyce Pihl 

Big Red 24” x 30” 

http://joycebpihl.org/

Filomena Booth 

Energy . Color . Passion 

filomenabooth.com

filomenabooth.com

Dyan Newton 

Colors of Life 

“Virginia Pride” 

http://one-painting-a-day.blogspot.com 

Contact: dyansart1@yahoo.com

Aspen S P A C E S 

Dream Weavers 48 X 48 (c) Leija Roy 

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

BAUER 

Logan Bauer 

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

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

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

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

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

LoganBauer.com

Landscapes, Life Drawings, Still Life, Figurative Portraits 

LoganBauer.com

Photo by Lydia Bittner-Baird 

http://bairdstudios.com/

VL 

The Value of Line 

Andy Baird 

http://bairdstudios.com/

VL 

Andy Baird 

“The Value of Line” 

I was born in Denver, Colorado. There is a thing 

about being a long-time Colorado family, so I like 

to point out that I am a fifth-generation Colorado 

native. The first Baird came here in 1867. Colorado 

has always been my home, and I cannot think of 

any other place as home. 

I knew I would be an artist when I was seven. I used 

to watch my aunt paint horses, and I won a schoolwide 

art contest in second grade. After high school, 

I went to a commercial art school. I discovered a 

love for oils and figure painting, and I went to the 

University of Northern Colorado for my degrees in 

Art Education. 

As a freshman, I ended up in graduate-level painting 

courses, along with a few required under-grad 

courses. By my sophomore year I had to catch up 

on required courses, one of which was ceramics. 

I was not happy, until I learned that ceramics involved 

using a wheel and kilns. I loved working on 

the wheel and my painting fell by the wayside. My 

master’s project was on Native American pottery, 

and I figured out the secret to Maria Martinez’s metallic-black 

hand-polished finish. My pots were hand 

polished, disassembled and reassembled, resulting 

in ancient look. 

By the time I became a high school teacher, galleries 

were selling my high-end pottery. Robert Redford 

bought my first pot sold in my Santa Fe gallery, 

and that got me national attention. 

When blown-glass overtook the pottery market, 

I returned to painting, always looking for current 

trends. When I travel, I visit galleries and look for 

interesting and intriguing art. I like to get the pulse 

of what the nation is thinking. 

I had a student so advanced that he needed new, 

challenging assignments. He made excellent contour 

drawings, so I asked him to “draw” a face by 

scribbling, without an outline, using chalk pastels. 

This became a standard assignment in my advanced 

drawing classes. I was inspired to work with 

the technique myself, using liquid paint. 

http://bairdstudios.com/ 

My high school let me paint in an empty classroom 

in the summer. I spread canvases on the floor and 

walked on them, experimenting with different paints 

and tools. Dribbling paint prevented the precision 

needed for small subjects, so I worked on large 

canvases. My process evolved into walking around 

a stretched canvas, better control over the streaming, 

being able to visualize the image from a distance, 

and creating fun, new images. My first show 

was a success, so I felt that I was working on the 

right art at the right time. 

My paintings are sometimes compared to Jackson 

Pollack’s. Long before I started this technique, I 

had seen reproductions of Pollack’s paintings, and 

I did not care for them. After seeing Pollack’s original 

work, I became an absolute fan. I love how the 

many layers of paint create depth to his paintings. 

There is also a connection to Chuck Close, whose 

pixel-like sections compose portraits, and Georges-Pierre 

Seurat, who used dots of paint to compose 

scenes. Optical blending enables the perception 

of the image. I might call my work “Seurat 

meets Jackson Pollack meets Chuck Close”. 

My work is a branch of the American Pop Art tradition, 

similar to Warhol’s Campbell Soup cans. I 

talked to friends, clients, and artists, and noticed 

what is popular in check-out lines. That led me to 

deliberately work with a glamour look, almost the 

commercial look from fashion magazines. I follow 

the overall Pop Art philosophy, putting art in daily 

life, off the pedestal. 

I’m selective about the images needed for that 

“look”. I’m inspired by ads, photos with the right 

light, shade and image, or students or friends with 

promising faces. Whatever the source, it’s up to me 

to create the look of popular culture in my paintings. 

I also paint images of things that had a big impact 

on my teenage years – the Statue of Liberty, the 

Campbell’s Soup can. I met Andy Warhol at a show 

in Denver. Warhol wrote a dedication to me in a 

copy of his book (Andy Warhol from A to B and Back 

Again), “To Andy from Andy”, with a little Campbell’s 

Soup can drawing. Meeting him made such an impression 

on me, and that’s why I’m so glad to be 

able to exhibit the Pop art character of my work. 


Right Page: La Gitana 



VL 

Andy Baird 


Angela King Gallery, New Orleans 



My studio is a wonderful, old, pine-paneled cabin in Evergreen, Colorado. Each time I visit a 

painting, I drip paint either to lose the image or strengthen it. I build layers of color until I see in 

the painting that perfect quality that I'm looking for. After a month of work, a completed painting 

will contain thirty to forty colors. The beauty of the process is that the face appears with a 

personality, a life of its own. 

I love to create. I've been an artist of many genres: a painter, potter, sculptor, photographer, 

jewelry-maker, builder. I've been incredibly lucky that my family has always championed me 

as an artist. I know no other life. I meet with other artists of all abilities and work with different 

media and styles, but I especially love the development of my drip-paintings. Often, the end 

result of my work surprises and fascinates me. 

I like it that people find it interesting to study each painting, to think about its creation, and to 

trace the lines of paint. This is artwork that actively involves the viewer, and when a viewer is 

invited to participate and enjoy, the art is more complete. The fascinating diversity of faces and 

the endless ways to portray them captivates and connects us all. 

Photo by MaryLynn Gillaspie 



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TITLE 


Ken Olin 48 X 60 Oil on Canvas 


Photo by Lydia Bittner-Baird 

STORY 

Ken 48 X 60 Oil on Canvas 



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Andy Baird 


Victor Reading Oil on Canvas 

STORY 





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Andy Baird 




VL Andy Baird 




Malcom Genet, an art consultant in New Orleans, 

writes that, “Andy Baird is the first artist to unite drip 

technique with portrait painting. In the art world, we 

call these post-Modern hybrids ‘original,’ in the sense 

that they make painting new again. Andy Baird stretches 

our imaginations by pairing two unlikely styles into 

clearly innovative works.” 

The traditions that inform my work are explained by 

art consultant Michael J. Miller, who writes, in part: 

“Andrew Baird has created a new and original hybrid 

art form: the action-painted portrait. He combines the 

unlikely duo of portraiture, which thrives on likenesses 

and naturalness, with abstract expressionism, which 

tries to avoid likenesses and subjects from nature. 

Such originality and invention by mavericks creates 

new areas of value in art. Baird is one such genius. 

Surrealist painters in 1920’s Paris were first to fling 

or drip paint, marveling at the ‘energy traces’ and lyrical 

beauty of ‘accidental art.’ In the 1940s, American 

painters expanded on Surrealist ideas and methods, 

eliminating anything recognizable from their art, creating 

the first American abstract expressionist works. 

Jackson Pollock began non-traditional drip-painting, 

composed on the floor on an un-stretched canvas, 

radicalizing painting for the next half century or more. 

Andrew Baird is in the direct line of the abstract-expressionists, 

but one who reverses the order again, 

by using this American avant-garde technique to paint 

specific figures. 

Another impetus for abstract expressionists was molecular/atomic 

physics. Pop culture emerged around 

‘atomic theory’, and Pollock’s flinging paint was splattering 

lines of energy that reflected the orbits of electrons 

around nuclei, which in turn echoed that of the 

planets orbiting around the stars; this theme was often 

expressed by the progressive artists of the day. 

When Andrew Baird, one of the brightest contemporary 

artists working in portraiture today, uses his abstract-expressionist 

technique to compose the most 

beautiful female faces, he reminds us that even the 

prettiest face is a secret, minute world of whirling 

particles, brought together in aesthetic perfection by 

Great Mother Nature, and enhanced by the interpretation 

of a uniquely talented artist.” 

With input from and thanks to Malcom Genet, New 

Orleans, and Michael J. Miller, San Francisco. 



VL Andy Baird 

Right Page: Photo by MaryLynn Gillaspie 





discover art . inspire collectors 

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

Home is where the art is. 

dandcgallery.com

engage discussion . celebrate life 

dandcgallery.com 

Sherry Hogan 

Davis&Co

Bob Coonts 

COONTS 

“Painted Lady” Acylic on Gallery Wrap Canvas 48” X 72” 

www.bobcoonts.com

Corey 

Watson 

coreywest.artspan.com 

coreywatsonart@gmail.com

Laurie Justus Pace 

Night Gathering 36 x 36 Oil on Canvas 

Mirada Fine Art Denver 

LauriePace.com

Black and White 

Midnight Roundevous Table for Two 36 x 36 Oil on Canvas 

The La Jolla Gallery 

The Spirit of the Paint 

Viewing a Laurie Justus Pace painting is a rich experience that drips with color and emotion. Her passionate works are alive 

with movement, boldly created with a wide brush and a palette knife. She loves working with oils, dramatically carving out 

the paint and transferring her energy to the canvas and ultimately on to the viewer. 

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

VL 

VL 

Sallie-Anne Swift 

http://sallieswiftart.com/ 




VL Sallie-Anne Swift 

Do or Die... Undertaking a 3D extra large format painting. 

We had purchased a new apartment and I was wanting to do something special for the entry, so I decided 

to do a HUGE 8’ x 6’ painting… this was definitely going to prove to be one of my biggest challenges. 

The only area big enough for me to attempt this was in the middle of the construction zone of the new 

apartment. It made sense to paint it in the apartment we were remodeling, with its stripped concrete 

floors and the beaten up walls that were still in need of new plaster and paint… it was perfect… I could 

make a HUGE mess and it didn’t matter. 

I found a fabulous stretched canvas supplier in Orange County (artscanvasonline.com) and ordered my 

8’ x 6’ deep edge stretched canvas. 



My New Studio 



VL 


Arrival of the Canvas 



To my sheer delight it was delivered to me the very next day, I was not expecting such a quick delivery service! I 

gazed at the blank canvas before me for hours, contemplating what I was going to paint. It had to be something 

special, this would be the largest 3D painting I had ever attempted. Yes I did say 3D, these are my newest creations 

and something I had given a lot of thought to. At this point the largest I had done of these 3D paintings was 

a 30” x 40”. Was I ready to attempt one this big… well why not, “you’ll never know unless you give it a go” and 

I would give this my best shot! I had spent a lot of time testing my process, and resourcing materials, I want my 

work to be UV light protective and I will only use materials with longevity, this is extremely important to me as an 

artist because I want my work to last longer than a lifetime. 

And so it begins… I wait until the weekend when the tradesmen aren’t there and lean my canvas against the dirty 

wall, starting on the texture for the canvas first. This always acts as a guide for my paintings, a little like a sketch. I 

feel a little under pressure to get as much done as possible before the workmen return on Monday morning so the 

following day I begin painting. When I pack up my paint and wash my brushes and take a long look at my painting, 

I am disappointed, it’s not quite what I had planned. I wait until the following weekend and then paint over the top 

of it with white gesso so I can start again. 

I have to admit I was feeling a little overwhelmed at this stage, thinking that this painting might get the better of 

me, but I felt very determined. And so 2 weeks later I was back in front of my huge canvas painting over the top of 

my disappointment. By the end of the weekend I was satisfied that I had made a good base painting and so I drew 

up a plan (to scale) and ordered an 8’ x 6’ x .25” thick piece of acrylic with 22 holes to be drilled at exact points (as 

marked on my plan). The acrylic was the most expensive part of this painting… I had to make this work now after 

spending so much money on materials! 

Applying Texture 



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Applying Texture 

First Layer of Acrylic 



Second Layer of Acrylic 



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Attacking the Acrylic 

We were off on holidays for five weeks and the acrylic would arrive during this time so I planned on finishing 

upon our return. This gave me more time to plan and think about the next layer that would be painted (in the 

reverse) of the base painting on the canvas. I am so inspired by the ocean and our new home looks straight 

out over the Pacific Ocean so this would be my inspiration for my painting. 

My acrylic had arrived when we returned and it was extremely heavy and awkward to maneuver, it required 

help to get this into a position where I could paint comfortably and reach every inch of it. I decided to place 

it on top of the canvas, in the middle of the living room floor, not something I would normally do, as I like to 

look at the base painting while I paint the reverse of it. So now I would be painting blind and simply guessing 

where things where but I wanted to protect our new floorboards. I placed plastic under and around the canvas 

and plenty of drop sheets to protect the new floors, took a deep breath and began mixing my paint, ink 

and epoxy resin. This preparation is vital to the outcome and I like to work quickly once I start with this so I 

have to be very well organized before I start. 





VL 


I am ready and I start applying my combination of mixtures 

onto the surface of the acrylic, I’m pretty much 

guessing where I think everything should go, I know 

the look I want to achieve but I am so nervous, I cannot 

afford to mess up this piece of acrylic, it cost so much! 

I am able to walk right around the acrylic laying flat on 

the floor and this helped me get the perspective right. 

I can’t work fast enough, my mixtures where getting 

thick and tacky but I am almost done. I am not sure if 

there is enough paint on this piece and I am concerned 

my brush strokes are not big enough for this size canvas. 

I remember standing back and thinking I wish I 

had an old broom to use for a brush. But as it turns out I 

needn’t have worried, I turned on the ceiling fan above 

it, made sure all the doors where closed (as it must be 

in a dust free environment) and walked out the door 

leaving it to dry. 

I don’t think I slept much that night. I had to wait 24 

hours before it would be dry to the touch and dry 

enough to move; it seemed a very long 24 hours. Finally 

it was dry enough to move and with the help of my 

willing husband we managed to move it in front of the 

canvas that it would sit above, and against the wall it 

would hang on. I was thrilled when I saw the two pieces 

together, it was even better than I had imagined. 

I stayed up late that night putting it together with the 

stainless steel standoffs, all 22 of them. Again I had 

to be extremely accurate where I drilled my holes to 

accommodate the standoffs, they had to line up exactly 

and there was no room for error. 

Working on the Acrylic 





VL 






VL 


Finally it was together and I was looking at the 

finished piece, it would still take another 24 

hours to be completely dry but it was done and 

ready to hang. Oooh.. hang This was one extremely 

heavy painting and I hadn’t given much 

thought to how I was going to hang it. I found 

some fabulous dry wall hooks on amazon.com 

that would hold 200 lb each – perfect! When the 

tradesmen arrived for work on Monday morning 

they could hang this for me. It took 5 men to 

hang this painting but it’s up and in it’s place 

and every time I walk in through the front door, 

I marvel at the sight of it and think to myself… I 

did that and I feel so proud that I achieved this 

goal, this enormous 3D painting looks fabulous 

and the lighting makes all the difference in the 

world. 

For years I would transform my dining room 

into a studio, pushing the table and chairs to 

the side, throwing down drop cloths to cover the 

floors and then setting up my portable easel on 

wheels and my portable cart that housed my 

paint, it would quickly became my work area. 

It’s no wonder I would get depressed when we 

were having dinner guests. This meant packing 

away everything and moving it all into a storage 

unit so the room could once again resemble a 

place where we could entertain. I’ve lost count 

how many times I have done this! 

Eleven months of preparation, designing and 

planning the remodel of our new apartment will 

finally see me in my own dedicated studio… 

YIPPIE! I’m still pinching myself! It is a home 

studio, with plenty of space (even enough room 

for an 8’ x 6’ painting and plenty of natural light 

with breathtaking views that stretch across the 

city to the mountains that are soon to have 

snow capped peaks on them. No more packing 

away my paints and brushes… I am one very 

lucky and very happy artist! 


86 | VL Magazine - VisualLanguageMagazine.com 

Hanging the Painting

Three Dimensional 



VL 


Finished Studio 



Finished 3-D Painting 



Eric Bodtker 

Provence Villa with Les Alpilles 

http://www.ericbodtker.com/

“On the other Side of the Dream” Oil on Canvas 24”x24” 

Sanda Manuila 

sandamanuila.artspan.com

Roseanne Snyder 

“Coming Winter” 

roseannesnyder.blogspot.com

Vicki Rees 

Visit my website. 

vlrees.com 

TippingPaintGallery.com

Barbara Haviland 

Red Hibiscus 24” x 20” 

Barb’s Garden Art 

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

Suzy Pal Powell 

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

“Kissing Cousins” 

suzypal.blogspot.com 

suzypal.com

VL 

Studio Visit 

Slav Krivoshiev 

Who Stole the Fairy Tales 

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

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

VL 



Slav Krivoshiev is a passionate Russian artist that 

shares his stories vividly on canvas. Visual Language 

first featured his work in January of 2014 and invited 

him again to be a featured artist in this issue. 

The hidden metaphors in his compositions challenge 

the viewer to look far beyond the surface. His colors 

and use of texture are metaphors in their own right. Yet 

as one stands before his work warily, so exactly does 

the allegory in the painting mimic the other reality - is it 

the fear one might recognize in a scene expressing a 

reality kept at a distance His works intimately connect 

places and times of familiar stories and myths with unfamiliar 

visions. Upon further exploration, one will discover 

the figures in each painting hidden and woven 

into the fabric of the canvas through his active use of 

texture. Krivoshiev has said that his works of art evaluate 

morality, questioning how we, as a society, relate to 

people with different beliefs and the impact our evolving 

modern civilization has on cultural practices and the 

ethical norms. 

Krivoshiev’s paintings present a culture and a time far 

from our present reality, while bordering on the edge 

of days that may come ahead. In this scope of work 

there is a connection and continuity that is seeded 

from today’s world unrest. Krivoshiev associates current 

day with days lived two thousand years ago. His 

stories cross eras, glimpsing moments past and present 

as narratives develop in our minds while our eyes 

search the surface for substantial details. The paintings 

descend into the depths of an unknown time, a time of 

yesterday while reflecting the tension and unbalance in 

our world today. 

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


Above: Keeper of the Temple 

Left: Beyond the Banned Land 



VL Slav Krivoshiev 


The Cross in the Sea 



Prayer for Light 





Oriental Flowers 



“Mythological Constructivism” 

I define art that is created as a social myth. Constructive 

basis is the mythological story, a fragment or a reference 

to certain mythological hero, passage or detail, 

but considered in the problems of the modern social environment, 

resulting in a new mythological experience, 

a new reflection, the result of a new social environment, 

where a person lives, seeking and developing. Or the 

environment in which obliged to live, according to the 

circumstances are obviously controlled social power, 

but he may often monitor and control them (the circumstances), 

psychosocial myth of modern man. Art, which 

has claim, does not give the answer, and ask precise 

questions to the problems of modern life. 

Mythological narrative transforms into an inverted form 

of the contemporary reality. The ethical norm of the 

contemporary society transforms into an inverted norm 

to the normative content of the myth. 

Mythological Constructivism uses the principle of enantiodromia 

– a natural law saying that any given thing will 

sooner or later change into its opposite. First described 

by Heraclitus, it later occupied a central place in Jung’s 

psychology and psychotherapy, explaining the interaction 

between the opposites as well as the development 

of processes in time.” Slav Krivoshiev 





Legend of Istanbul 



Turkish Coffee 



VL 



Starvation 



Women on Board II 





Metaphysical Managing General Ship 


Women on Board III 




Two Angels 





Nancy Medina 

Painting Under the Tuscan Sun 

A Painting Dream Getaway 

During the Peak of Poppy Bloom Season 

June 6-13, 2015 

Tuscany, Italy 

www.nancymedina.com

“Celebrating the stories and legends of Texas and 

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

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

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

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

Judy Mackey 

“Patience” Oil on Canvas 

“Patience 2” Oil on Canvas 



www.JudyMackey.com

Judy Mackey 

“No Worries” Oil on Canvas 

www.JudyMackey.com

Roberta McGowen 

visualwestphotography.com

Visual West Photography 

“Leader” 

visualwestphotography.com

LADY L 

Colors Make Me Happy 

Daisy Pink 24 x 24 inches 

Acrylic on Canvas 

ladylart.blogspot.com 

ellepace.com/lady-l-artist

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

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

Mary Jo Zorad 

contemporary fine art 

“You Have the Power” 12 x 12 Acrylic 

ZoradArt.com 

“Sedona” 

16 x 20 Acrylic

VL Barry Scharf 

Blood Moon by Barry W Scharf 


A Creative Psychology 

http://barrywscharf.squarespace.com/ 


VL 

Barry W. Scharf 

A CREATIVE PSYCHOLOGY 

By Barry W. Scharf 

Now that we have entered the new year of 2015, I 

have been contemplating what makes a person creative 

and how they arrive at an expressive output. I 

often go through thoughts of how I can better myself 

and improve my work and a few questions always 

come to mind. The why and how of what makes me 

an artist. 

To answer this question we must look at the characteristics 

that make a person want to be creative. 

What is it that sets them apart from the crowd First 

they must be inquisitive. They are always looking at 

the world and asking questions about what they see. 

What is that out there Why is it this way Is there 

more to this then meets the eye How can I know 

more about this 

I believe these types of questions are historically the 

basis of what great masters have asked in order to 

form unique answers to what otherwise are images 

and forms that have already been expressed. They 

did not follow trends of their time but instead, by asking 

questions set new ones in motion. 

Next they are aware of their reality. They are sensitive 

to the feelings and emotions they are having. 

They are paying attention to sensory input that they 

receive through sight, smell, taste, touch, hearing 

and that elusive extra input that comes through intuition. 

Most importantly they are present in the moment 

undistracted from their reality with past or future 

thoughts. Locked in an embrace with the content of 

experience and the present moment of expression. 

They dance the dance of creativity, INPUT…CON- 

TENT…EXPRESSION. 

At the same time what is avoided in a successful 

creative process is equally important as what is embraced. 

Most important is to overcome fear. Fear is 

the most crippling component to the creative process. 

It causes doubt and self-consciousness that 

inhibits the free flow of ideas and process. 

Another debilitating element is judgment. By this I 

mean avoid the inner critic that is forever judging 

every move you make. The “critic” can cause hesitation, 

leading to questioning the conviction of your 

expression, which will only lead to producing a watered 

down and over thought version of what you 

were truly after. 

Now if this sounds difficult and a lot like work…it is! 

True creativity is not for dabblers or the faint of heart. 

It has been and always will be a place of strong exception, 

a place where fleeting moments of genius 

are captured and translated into the expressive act. 

Great works of art often demonstrate a glimpse into 

the mind of the “artistic warrior” that have found the 

key to bringing together mind, body and spirit into 

a single moment of expressive fervor to produce 

something of a great value of consciousness in the 

world. 



Night Moon by Barry W Scharf 

Aftermath by Barry W Scharf

VL 

Barry W. Scharf 

New Abstraction 82 by Barry W Scharf 



y Barry W Scharf

VL 

Lisa McKinney 

Had I Known 


Lisa-McKinney.com 

lisamckinneyartprints.com 


VL 

VL 

Artist Interview 

with Elizabeth Chapman 

http://melizabethchapman.artspan.com/ 




VL Elizabeth Chapman 

At what age did you realize you were an artist 

As long as I can remember I was creating and making stuff. I was always an artist but did not realize it until 

I was about 45 and working as a High School art teacher. It was there that I realized I was more of an artist 

than a teacher. 

Who or what inspired you to make art in the beginning 

My first painting was an oil painting. I remember standing by my mother’s easel working on my own little canvas. 

She still has that painting. 

What is your background in art 

I consider myself to be self-taught, although I do have a B.S. Art Ed. As a teenager I took watercolor lessons 

from a professional artist. 

What role do you feel an artist has in society 

I like what Georgia O’Keefe said about why she began those large flowers. She felt a need to help the busy 

New Yorkers slow down and see the beauty in the flowers, so she painted them big. I guess that is how I see 

artist as sensitive individuals that are pointing to and expressing the beauty of God’s creation. Creating spaces 

in time for reflection. 

Today, who has had the greatest influence on your work 

There are so many artists that have influenced me and that I admire. However, I would have to say that it is a 

local artist, Emily Frost, that has so encouraged me for so many years. I don’t know that the artist within me 

would have emerged if it weren’t for the nurturing of the seed that she has done. 

Give us an idea of what type of art materials you use and if you have a favorite color palette. 

I work as an abstract expressionistic allowing my intuition to direct the decisions that I make concerning any of 

the elements. The hardest can sometimes be just laying down that first mark. Once done, this will lead to the 

next idea and so forth. I work with acrylic paints which in the beginning were frustrating to me as my formal 

training in college was with oils. Acrylics dry much faster than oils and because of this I have taught myself to 

work fast building layers up to reduce the drying time. 

Life often gets in the way of creativity; how many hours do you spend creating or making art each 

week. 

I spend about 30 hours a week actually painting and probably around 15 hours a week photographing, listing, 

promoting, etc., In the beginning, I disciplined myself as if it was a regular job 8-5 but as life does get in the 

way I have learned to be much more flexible. 

Right Page: Ascend 24” x 30” x 1.5” Canvas 



Gasing Up 

Hornet Sunset 



VL Artist Interview with Elizabeth Chapman 

Arioso 30” x 48” x 3/4” Canvas 



Alpa 

48” x 48” x 1.5” Canvas 




Verdant 24” x 30” x 1.5” Canvas 



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

What tends to stand in the way of your creativity 

All of those. 

How do you overcome these obstacles 

I think it’s important to continue to paint even when you aren’t feeling like it. Many times once you begin then 

the painting itself will take care of whatever obstacles there were. Much easier said than done. Encouragement 

from others can go a long ways. 

What food, drink or song inspires you or gets your creative juices. 

Music is definitely inspirational to me. It can be what helps to get that brush pushing through the canvas. It can 

also set the mood for that paintings visual expression. Don’t really snack while painting as I”m a messy painter. 

Has your art evolved or changed in the past ten years If so, how 

Definitely has change ALOT! Six years ago when I left my job as a high school art teacher to pursue being an 

artist, I really had nothing as far as paintings go. I began with what I knew and that was painting realistic florals 

with transparent watercolors. They were very realistic. A change in mediums forced me to begin working much 

faster in a more abstract fashion. 

Do you have a favorite piece of art 

This is such a difficult question...it’s kinda like your favorite color or food. I feel like my favorites change from 

day to day, season to season. Much to many favorites! 

Do you find the artistic life lonely How do you counteract the solitude 

I do find the artistic life to be a lonely life. In a way, this is a good thing because it causes you to be introspective. 

It is a place of listening, pondering, reflecting and creating. It helps to have this type of time for creating 

and expressing those thoughts visually. On the other hand, enough can be enough. I love getting out and being 

around people in different settings, and spending time with friends and family. 



VL 

Steadfast 30” x 48” x 1.5” Canvas 



VL 

Artist Interview with Elizabeth Chapman 

What is the predominant color in your closet 

I really can't say...definitely a mixture. 

What book are you reading this week 

This week I've taken an interest in reading Revelation, Genesis, Daniel and the Book of Esther in the Bible. 

Do you have a favorite television show or movie 

I don't watch much television, but do enjoy cooking shows. The Sound of Music will always be an all time 

favorite. 

What is your favorite food or what do you snack on while you are working 

I'm a messy painter, no snacks while painting. 

What colors are the towels in your bathroom 

Well they use to be gold and a rich brown...but they’re quite faded now. Browns. 

What is your favorite color 

Changes with the seasons! 

What color do you avoid 

Personally, will stay away from orange as I was trying something on in a store one time, looked in the mirror 

and thought I looked like a pumpkin. I don't have a problem painting with it. 

What are you most proud of in your life 

That would be my family. I am very thankful for them. 

What has been your most embarrassing moment 

There's probably been many, but those that happen to you when you’re so young seem to stick the best. 

The one I'm thinking of now was when I was in the first grade. It was a small class and we each had an 

easel for painting. One day I was standing at mine and I guess I must have gotten so into it...suddenly I 

realized their was a puddle on the floor. Fortunately, I had a sensitive teacher that took care of the situation 



Dreamboat 24” x 30” x 1.5” Canvas 



VL 



Wed 36" x 48" Canvas 




What jobs have you done other than being an artist 

I was a stay at home mom to three children and a High School Art teacher. All other jobs were for short periods 

of time. 

Do you have a passion or hobby other than painting 

My grandmother taught me how to sew when I was in the 6th grade. I loved fabric stores for all the colors and 

making my own clothes. I still find sewing to be relaxing. I also love cooking and gardening. Love playing 

with our grand daughter and not a hobby, but enjoy walking. 

Who would you love to portray in Mixed Media or in paint 

I would probably answer that us our grand daughter. Not that it would be realistic, but it would show all the joy 

that there is in those child like qualities that we tend to lose as we settle into the rules of life. 

If you were an animal what would you be and why 

I've always loved watching the hippos at the zoo, probably because I love the water. As a kid, I lived in Venezuela 

where the weather permitted swimming all year long. My family teased me that I was going to turn into 

a fish. Another animal would be a dog, as we have two that are very well taken care of. 

If you could live anywhere in the world where would you live 

I don't know why, but I've always thought the Mediterranean area. 

Share something with us that few people know about you. 

Well. I can tell when i'm getting into a painting, as i've got this thing about having to kick my shoes off. I guess 

it's a feeling of not being restrained. I also love to dance while painting, but never do that with an audience. 

Name something you love and why. 

I love spending time with our grand daughter. It is such a joy and it is my hope that we will have had a positive 

influence in her life. 

What is one thing you would like to be remembered for 

Kindness. 

Right Page: Seraphic 36” x 48” x 1.5” Canvas 



Go Shawk 



VL 

Artist Interview with Elizabeth Chapman 

Consider 30" x 60" x 1.5" Canvas 





Palette 

Knife 

Painters 

Paletteknifepainters.blogspot.com

Paletteknifepainters.org

Kimberly Conrad 

“Pouring Color Into Your Life” 

Moving Metals Cerulean B-6 18” x 18” 

KimberlyConradFineArt.com

Moving Metals 

Moving Metals Cerulean B-5 18 “ x 18” 

KimberlyConradFineArt.com

DAILY PAINTERS ABSTRACT GALLERY 

DailyPaintersAbstract.blogspot.com 

Carol A. McIntyre 

“Floating Winds, “ 28x21, Oil on Canvas

DailyPaintersAbstract.blogspot.com 

DAILY PAINTERS ABSTRACT GALLERY

DianeWhitehead.com

Diane 

Whitehead 

“Animals are my muse. The scratch 

of the paw, pounce of a hoof, gesture 

of the head, alert ear, quiet stride, 

powerful shape, ancient wisdom. 

All come to play with the shapes I see 

as I paint.” 

DianeWhitehead.com

VL 

VL 

NOT SURE IF WE 

TURE FOR HERE> 

http://www.demianart.net/ 


VL 

Getting Intimate 

with 

Demian Dressler 

“It’s the little things that count.” 

HAVE A FEAhttp://www.demianart.net/ 


VL Intimate with Demian Dressler 


VL: So, congratulations on your selection as a Top Master of Contemporary Art by Art Tour International, 

and your upcoming exhibition in the Museum of Fine Art in Las Vegas. So, everyone is wanting to know: 

what is your new “mystery medium” What can you share with us about how you create your beautifully 

vibrant abstracts 

Demian: Well, the short answer is abstract macro photography, hybridized with traditional painting using 

acrylics, watercolors, and whatnot. I apply these painted media on what I call a screen, often film paper 

or plastic, and then I spend ridiculous amounts of time finding the perfect field to capture a photographic 

image. This image is then transferred to panel. Many people don’t realize that the photographed field is 

often less than an inch square when they look at the wall art. On some of the final works I will add further 

layers of paint, or use chips of diamonds, meteorite dust, rose quartz or other minerals, some gold leaf, or 

whatever lends itself to the piece. 

VL: You were raised on Maui, graduated with an Ivy League doctorate and still are a practicing veterinarian, 

as well as a full time artist. How has this influenced your creative process 

Demian: Well, I know Maui has been a big influence. I’ve always been attracted to the rawness, the intensity, 

and the brilliance found in natural things, and my childhood was filled with this, the colors and forms 

of Hawaii. This art is created with a very organic and natural process, in spite of the lens and paintbrush, 

and what is brilliant or intense is what ends up in the final pieces. So there is a correspondence there. I 

grew up without running water or electricity, so when I was not doing art I was surfing, spending time with 

animals, and exploring the natural world. There is some magical essence, something vital that is found 

both in good art and in the natural world. This has always been my inspiration. It could also be that I am 

very restless and I constantly seek, which I suppose assists innovation a bit. As to the veterinarian hat, I 

have done quite a bit of surgery for many years…here we work with the hands, look closely at things, and 

go by feel a lot. People think of medicine as science, but it is equally art, it is intuitive, there is a sensitivity 

that must come with it, an empathy, and the hands are a channel in this capacity, and feeling is central. So 

I suppose its an amalgam of all of these life experiences. 

VL: On your website (www.demianart.net), you have a quote: “Art should bring magic into our daily lives, 

an escape to a different place, maybe even a different world, somewhere delightful, exciting and alive. This 

is why I create.” Tell us about this. 

Demian: Well, you’ve heard the saying, “It’s the little things that count” Sometimes it can be a moment 

in time, when suddenly everything stops and this fantastic and wonderful image separates itself from its 

surroundings and presents itself to us. It captures us, our attention. And it may take us away, somewhere 

far off, an escape to something better than the day to day, the grind, the mill. This is what I want to convey 

or produce for the viewer or collector. This is really why I am an artist- to offer this feeling, this magic, this 

alive-ness and make it an accessible part of day-to-day living. 



Homecoming 



VL 

Intimate with Demian Dressler 


VL: Obviously your art has deep philosophical undertones. Would you say there is a larger purpose to 

it 

Demian: Yes, I would say there is. So much of our time is consumed being driven (or forced) doing 

things that deaden us, and each moment is like currency- “time is money”, right Moments are the currency 

of our lives in this way. And they are being spent, right now, and they are finite since we are only 

given so many in a life. And all of this enforced moment-spending doing things can leave behind a dull 

heaviness that weighs us down- it dims our vision and outlook. I offer my art as a way of bringing that 

propulsive feeling of excitement back into life. Remember when we were kids Or when we fell in love 

There was freedom, there was delight, there was something to look forward to, and it was real. This energy, 

excitement, this hopeful state of mind, this alive way of being that we can again allow ourselves… 

the art is directed towards that end. 

VL: Well, it’s pretty clear you put a lot of thought into your work. What were your influences 

Demian: There were many. But what is being reflected in my work now is the influence of the early Surrealists, 

Automatism, and Carl Jung. I’m really endeavoring to bypass the conscious mind to access 

what is deeper, to truly or authentically act as a conduit, to allow the pieces to presence themselves and 

get myself out of the way. Every artist knows this experience, and I have some techniques I use to do 

away with the obstructing part of the mind. I’m at my best when I’m not there (laughs). 

VL: Yes, but you have written narratives for your pieces that bring them to life in an entirely different 

world. Is this writing an intellectual process that differs from your artistic process 

Demian: The words are just another way to access that vital essence…Henri Bergson called it élan vitale, 

a kind of vital force which is beyond words and also beyond a canvass, paper, sculpture, a sunset, 

the eye of an animal…all of these point to something, they intimate at something, and they open a road 

or a channel to the intangible, to the very thing that makes us feel alive, that changes our lives when we 

allow it, or when we witness it fully and absorb it. The differences in expression, or the form itself, in the 

end don’t really matter- they are all just gateways. 

Right Page: Intermezzo Divinus 





VL 



Leviathan 

Kosmogonia 



The Chalice of Discreation 



VL 



Prismatica 



“Well, you’ve heard the saying, “It’s the little things that 

count” Sometimes it can be a moment in time, when suddenly 

everything stops and this fantastic and wonderful 

image separates itself from its surroundings and presents 

itself to us.” 




VL Intimate with Demian Dressler 


Tempering 



Sear of Interlude 



Alejandro Castanon 

www.vinodipinte.com 

Vino Dipinte Art Gallery 

602 Orient St San Angelo, TX 76903

alejandrocastanon.com

KRISTINE KAINER 

www.kristinekainer.com 

www.kristinekainer.blogspot.com

Texas Art 

www.kristinekainer.com 

www.kristinekainer.blogspot.com

Artists of Texas 

artistsoftexas.org

NO WHERE BUT TEXAS 

artistsoftexas.blogspot.com 

dailypaintersoftexas.blogspot.com

Felicia Marshall 

“Dressed Up” 

“Alone” 

Left page: “Sunshine on Hope” 

FeliciaMarshall.blogspot.com

VL 

Index of Features and Advertisers 

Alejandro Castanon 170-171 

Andy Baird 3, 50-65 

Artists of Texas 174-175 

Artists Out of Bounds 22-41 

Barbara Haviland 94 

Barry Scharf 124-129 

Bob Coonts 68 

Carol Jo Smidt 17 

Connie Chadwell 14 

Corey Watson 69 

Daily Painters 178-179 

Daily Painters Abstract Gallery 

184-185 

Davis & CO 66-67 

Demian Dressler 158-169 

Diane Whitehead 156-157 

Dyan Newton 46 

Elaine Vileria 36-41 

Elizabeth Chapman 132-149 

Eric Bodtker 90 

Felicia Marshall 176-177 

Filomena Booth 44-45 

Joenlle T McCoy 16 

John Whitton Bria 20-21 

Joyce Pihl 42-43 

Judy Mackey 116-117 

Kimberly Conrad 152-153 

Kristine Kainer 172-173 

Lady L 120-121 

Laurie Pace 70 -71 

Lelija Roy 47 

Lisa McKinney 130-131 

Logan Bauer 48-49 

Mark Yearwood 8 

Mary Jo Zorad 122-123 

Michal Ashkenasi 18-19 

Mirada Fine Art 12-13 

Nancy Medina 112-113 

Nathalie Kelly 181 

Painters Keys Sara Genn 11 

Palette Knife Painters 150-151 

Phylis Mantik DeQuevedo 15 

Ricahrd Levine 9 

Roberta McGowen 118-119 

Roseanne Snyder 92 

Sallie-Anne Swift 72-84 

Sanda Manuila 91 

Slav Krivoshiev 96-111 

Suzy Pal Powell 95 

Texas Trails Art Gallery 114-115 

Valerie Travers 30-35 

Vanessa Katz 24-29 

Vicki Rees 93 

Victoria Pendragon 4

Nathalie Kelley 

“Christmas Candy” 8 x 10 

“Blowing Off Steam” 

nathaliekelleyart.com

VL 

visuallanguagemagazine.com

Visual Language Magazine Contemporary Fine Art Vol 4 No 1

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