The Second Time Around…


New Beginnings oil on canvas 48"x48"
by Lawrence Taylor
There was a period in my life when I didn’t mess around with oil paint – or any art materials for that matter.

A good part of my adulthood was spent working as a public relations consultant – a fairly creative field, but mostly marketing ideas and writing. It wasn’t until I moved to Arizona in 1996 that I took up painting. But making art was in my genes: my mother was an artist, and my brother is a professional sculptor. In Arizona, I had more free time, and so I started to learn about painting. Sixteen years later, painting has been a focus of my life!

I asked the staff at Wilde Meyer if there were other gallery artists who also had a previous "artless" career. Here are a few, and in all cases, it seems that the desire to pursue art has always been brewing.

Labra Duo oil on canvas 24"x30"
by Connie Townsend
 As a child, Connie Townsend loved art. Her parents allowed her to paint murals on her walls and build a club house in her back yard. Although these skills would serve her well throughout her life, Connie could be the poster child of non-artistic early careers!

For a short time in the early ‘70s, she worked as a service station attendant, where she learned basic car maintenance. She spent her work breaks sketching the vehicles parked at the shop, with a keen interest in the VW Bugs and Vans.

You can see Connie’s love of cars and dogs in many of her paintings, such as "Labra Duo" and "K9 Taxi."
 
Color Me Lovable oil on canvas 30x30
by Connie Townsend

K9 Taxi oil on canvas 24x36
by Connie Townsend

Then, in 1980, she moved to Flagstaff where Ralston Purina hired her to drive a fork lift, loading trailers and box cars with dog chow. No time for art, I would guess! By 1990, she had enough of hard labor, and took a course in screen printing.  One month after the course, Connie left Purina and opened her own company, "Outrageous Tees Custom Screen Printing". That’s when her artist side began to show.

She started noticing the graphics on t-shirts and began to visit local galleries and art exhibits. She enrolled at the community college and started oil painting and was instantly hooked. A large painting entered in a show at the Coconino Center for the Arts received public acclaim, and the sale of that painting got Connie thinking that perhaps she could make a living as an artist.

By 2001, she had enough confidence to approach galleries both inside and outside of Flagstaff. Her art was well received, and she is now a full-time artist, calling her new business Blue Collar Art Works.

One of her paintings is currently on exhibit at the Sky Harbor Airport in a group show. Arizona became a state 100 yrs ago on Feb 14. In honor of that Centennial, 60 artists from across the state were chosen out of 572 submissions. The show is titled "Arizona Valentine". And my piece is "LUV AZ" 20" x 40" oil on canvas. The show is up 'til June 17 terminal, level 2.
LUV AZ oil on canvas 20"x40"
by Connie Townsend
 
Roses Near the House oil on canvas 42"x72"
by Lawrence Taylor 

Lawrence Taylor spent 20 years as a financial executive for a Fortune 500 gold mining company. "When I was growing up, you were trained to have a career that could earn you a living," he says. Although he studied finance in college, he also took electives in fine art and art history. Whenever he had the time, once he started working, he took classes at the San Francisco Art Academy. 

 Then a series of personal events occurred that motivated Lawrence to make a life change and do what he really wanted to do: create art on a full-time basis.

The Winding Steps oil on canvas 40"x50"
by Lawrence Taylor
In 1980, he took a trip to England and Wales. As a member of the British National Trust, he was able to visit and photograph many private gardens throughout the countryside. "Nothing in North America compares to these gardens," he notes.

Now, Lawrence makes a trip to England every two years to visit more gardens that have been turned over to the Trust. It’s easy to see the influence of these beautiful environments in his paintings: "English Gardens X" is a 42"X72" work that takes the viewer right into the space, ready to walk down the curved path. "Roses Near the House" is another large painting. Here, bright red flowers jump to life against lavender in the foreground and the misty English landscape that recedes. Winding pathways and artful paintings of flowers are recurring themes in Lawrence’s work, seen above in "New Beginnings."

England Gardens X  oil on canvas 42"x72"
by Lawrence Taylor

Sanctuary at Purgatory Chasm 60"x40" acrylic on canvas
by Acacia Alder

The beauty of landscapes also inspired Acacia Alder to change careers. Although she has always been involved in art – she was a jeweler for 10 years - the move from Ohio to Tucson had great visual impact.

Summer Aspen 18"x18"
by Acacia Alder

The large vistas she saw during hikes in the area caught her attention, and she became fascinated with the details and structures of plants as well. "I’m interested in how things weave together – the relationships of the things I see," she says.

Aspen Snow Shadows 18"x18"
by Acacia Alder

Acacia has studied drawing extensively, and that medium comes through in her acrylic paintings, such as "Sanctuary at Purgatory Chasm."

She has a delicate mark making that is very distinctive, and shows her love of the locales she visits. Aspens are a favorite subject at different times of the year.

I think we’ve all been extremely lucky to be able to pursue our passion for art in the second part of our lives. It gives us a new appreciation of our surroundings, lots of energy and a wonderful way to express ourselves. What a gift! 

Aspen Trail acrylic on canvas 48"x60"
by Aacia Alder


A Beautiful Sunday


Judy Feldman at "Art at the Royal Plams"
paintings shown: Teapots (left) and Chloe and the Red Chair (Right)


Royal Palms with Judy Feldman art
My exhibit last Sunday at the Royal Palms Resort was really nice. Many friends came, and I met some new art collectors who attended the event as well. The courtyard setting was a perfect backdrop for my paintings, and several guests said they thought the resort should buy "Under the Red Umbrella," since it looked so nice there. I told them to speak to the manager!

Temptation oil on canvas 30"x40"
by Judy Feldman


Admiring a painting
A view of the exhibit

Art at the Palms

Under the Red Umbrella oil on canvas 36"x48"
Every Sunday, the beautiful Royal Palms Resort invites an artist to show his or her work in the courtyard during the brunch hours, from 10:00 a.m. to 2:00 p.m. I’m very excited to be one of the featured artists! I’ll be at the Royal Palms on Sunday, Jan. 22. I’ll display about 12 paintings on easels, and show some nice small paintings as well. (I became enamored of the small format after I wrote about the Gem Show.)

Here is a preview of some of the art that will be on display: 

Breakfast at Marianne's oil on canvas 10"x10"
Garden Series II, oil on canvas 12"x9"
by Judy Feldman
These paintings and others will be available at Wilde Meyer Gallery.  You can see more art at Wilde Meyer's website: http://www.wildemeyer.com/judy-feldman.php

Brutus and the Crazy Chair oil on canvas

So please come! And, if you want to have brunch, you can make a reservation by calling the Royal Palms: 602-808-0766.

Royal Palms Resort
5200 E Camelback Road
Phoenix, AZ 85018

click here for google maps


 

It Takes a Collector to Collage!


Collage from Judy Feldman's collection
The other day, when I went into our guest bedroom, I noticed two of my mother’s collage pieces on the wall. She was a painter, but she also loved collage. Aside from several works of art, she also left me bags of her raw materials: colorful papers, some ribbon, a piece of corrugated paper from the inside of a cookie box, a gold envelope, magazine images, and even a pair of old eyeglasses!

According to an essay from the Guggenheim Museum's online art glossary, the glued-on patches that Braque and Picasso added to their canvases offered a new perspective on painting when the patches "collided with the surface plane of the painting." From this perspective, collage examined the relationship between painting and sculpture, and these new works "gave each medium some of the characteristics of the other." The Guggenheim essay also noted that the use of bits of newspaper was a reference to current events, and to popular culture. This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was fundamental to the inspiration behind collage.

Number 3, 10"x10"
by Bill Colt
 
 I googled the word "collage," and found some interesting information from Wikipedia. It said that collage is defined as an art form in which various materials such as photographs and pieces of paper or fabric are arranged and adhered to a backing. The word collage is from the French word "coller," which means "to glue." This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.

There are several artists at Wilde Meyer who use collage in their artwork. I spoke with two of them.


Desert Caddy,  24"x30"
by Bill Colt
Bill Colt is following the tradition of Braque and Picasso, using pages from old magazines he finds in antique stores to inspire him

"I have some Colliers magazines from 1947 and Life magazines from 1952," he said. His painting, entitled "Desert Caddy,"has some of those 1952 clippings which he paired with his image of the old Cadillac. He said that he recently "scored" a stock of 1970s TV Guides, so he plans to do a series of muscle cars from that decade.

Pacific, 1943 mixed media 24"x48"
by Bill Colt


Bill is a corporate pilot, and his airplane paintings include pieces of aviation maps, old Pan Am ads and aviation engineering manuals. His collage technique is pretty methodical at first.
Roadmaster mixed media 24"x48"
by Bill Colt

To start, he creates texture on his canvas with joint compound and bits of things like cheesecloth. Then, he collages pieces of his printed materials on the canvas with gel medium. As the creative process takes over, he draws his image in charcoal, and then paints with acrylics, covering some of the collage work. To finish, Bill glazes his painting with a product that deepens and enriches his colors.



Backroad Boys 36"x36"
by Charles Davison

Charles Davison considers himself a multi-media artist. He takes the collage concept even further, using beads, buttons and other items, in addition to paper and fabric, to create his artwork.

Charles has been in Arizona since 1978, but even when he lived in New York, he said he was interested in southwestern themes. He said that his work has evolved from a non-representational style with neutral tones, to his current focus on horses and Native Americans, all painted in bright colors and enhanced with his collage work.

Me-Maw's Quilt 30"x30"
by Charles Davison
 
For example, in "Me-Maw’s Quilt," he uses fabric to create the clothes and the hanging quilt. "Magic Sky" is heavily collaged with pieces of turquoise, buttons and coins. Rusted bottle caps create a frame around this painting.
Magic Sky 28.5"x22.5"
by Charles Davison
Like all multi-media and collage artists, Charles is a collector. He gets his materials from the desert, antique stores and thrift shops. His large, colorful fabric collection inspires him, as do his other found objects. They all enable him to work in multiple layers, adding materials as his paintings evolve.

Jonah's Tale 20"x20"
by Charles Davison
By adding a third dimension to what is normally a two-dimensional art form, multi-media paintings with collage have a tactile, textural quality that is very appealing. I think we react with surprise and wonder when we examine these paintings and see the bits and pieces of things that have been incorporated by the artist.

Big Art, Small Art

Wilde Meyer Gallery, "The Gem Show" Scottsdale, December 2011
Unless you’re a miniaturist, painting in a small format can be challenging. Certainly, abstract painters prefer a large canvas. Since there are no figurative images, they need the size to make a powerful statement with form, composition and color. But painters who employ realism also have to rethink their skills: they have to simplify and create a way to draw the viewer into a small space.


If you’re used to working with large brushes or palette knives, it can be weird to switch to a small brush. Since I don’t use very large brushes, this doesn’t present a problem. For me, it’s more about choosing subject matter that will work in a small space, and creating a composition that’s the right scale. I wondered what other Wilde Meyer artists had to say about making small paintings, and since the gallery has its annual Gem Show up right now, I decided to call a few people.

Back of the Sierras  18"x14"

First, I spoke with Judith D'Agostino, who lives in Santa Fe. She had been an abstract painter, but began plein air painting in 2005. She committed to doing a painting a day, so she started taking small canvases on her trips to paint landscapes.

Italian Landscape, 12"x18"
“There is a learning curve to painting small,” she said. “You need to simplify and create an intimate environment. But it’s a useful exercise to paint on a small scale, and these paintings often become ideas for larger ones.”
What Are You Looking At? 7"x5"
When she’s painting small, Judith often turns to another subject. In this painting, entitled “What Are You Looking At?,” she’s used a canvas that’s 7” X 5” and "Taking a Break" that's 6" X 8". 

Taking a Break, 6"x8"





Desert Dreams (left) 6"x6"
Fancy (right) 5"x5"
 
 Suzanne Betz, a painter from Taos, alternates between small and large paintings. "Changing the size exercises my creativity,” she says. “That way, I don’t get locked into one mode of painting. My smaller pieces are intimate and open to interpretation by the viewer.”



Suzanne uses mixed media, painting in water-soluble mediums on drafting film. She can cut the film to any size, so she can quickly select the format she wants. Her goal is to achieve transparency, and she works in many layers. These small paintings, which measure 6”X6” and 5”X5,” are covered with plexiglass, which add another layer to her work.
Quiet Time,  7"x9"

Connecting Heaven and Earth 5"x7"
When I talked with Deb Komitor, who lives in Colorado Springs, she said that she’d rather paint “huge,” but her car isn’t big enough! So, I guess practicality also enters into the equation.  Like Suzanne, Deb enjoys switching back and forth, between large and small paintings. She, too, says it gets the creative juices flowing.

The Protector 39.5"x11.75"



“By varying the painting sizes, the rhythm of my painting process keeps changing. It keeps me from getting stale and repetitious, since I use different images and the paint application is different.”

Honoring Joy 7"x5"
Deb paints mainly on wood – she uses panel boards for her small format work, and actually paints on wood doors for her large pieces (I guess she borrows someone’s truck). She recently painted a series of small pieces in an iconic style, which she says is her “way of honoring these animals.”

You can see this technique in her beautiful hummingbird painting called “Honoring Joy,” which measures 7”X 5”, as well as “Connecting Heaven and Earth,” which measures 5”X7.” Both birds have the gold halo that is inherent in icon paintings.

Down Low 12" x 12"
 
Mama and Baby Bear 7"x5"

Tracy Miller also lives in Colorado Springs, and enjoys painting wildlife. Her expressionistic style and love of color make her work quite unique.

She starts with an abstract painting, getting colors to vibrate off one another. Then an image comes to mind, and as she defines it, an animal is created! You can see an example of her technique in this small painting of bears called “Mama and Baby Bear,” above, as well as the buffalo in “Buffalo Study 47,” shown below.

Buffalo Study 47,   5"x7"

Tracy likes to “mix things up,” painting in larger and smaller formats.

“The small pieces are great for first-time collectors,” she says. “It’s important to introduce your work to people at an affordable price. Also, painting small is instant gratification!”




From these artists’ comments, I guess you could say that working in a small format is both liberating and limiting. I’m going to end this blog now, so I can face the challenge of a small painting!