Just Say “No” to Canvas!

By Judy Feldman | www.wildemeyer.com

Since I’m a fairly traditional artist, I paint on canvas or, sometimes, wood panel. But, I’ve discovered, after talking to other artists at the gallery, that it can be fun to paint on other surfaces.

That’s not such a new idea. Aside from really early paintings such as petroglyphs, traditional art was made on wood panels, before canvas came into use in the early 1400s. According to Wikipedia, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe.

But, walls and wood panels are pretty ordinary surfaces. How about vintage windows; mixed media with glass and paint; sheet metal and ceramics? That’s what I saw looking at the Wilde Meyer website, so I decided to give those artists a call.

Melinda Curtin is done with canvas. She’s entranced with glass art. “Ever since I started painting on glass, I didn’t want to paint on anything else,” she said. Her favorite surface is old glass windows, which she finds at salvage yards. But, she says, “People hear about my work and bring me their old windows!”

Melinda enjoys the process of painting on smooth glass. She uses acrylic paints, often layering to get the desired effect. However, painting on glass can be challenging. Melinda says that it’s a reverse process, so she has to paint all the details first, and then the large spaces afterwards. If you look at “Casa Blanca,” you can see that the house, cacti, mountains and clouds are all outlined in black, and the big shapes are mostly flat paint. Sometimes Melinda leaves a little space between the outline and bigger shape to let a little of the transparent glass show through. She’s also designed a frame of gold leaf on the glass, which fits inside the window pane.

“El Parajo” also has its own painted border. This painting, too, has a folk art aspect to it. Melinda told me that in Europe, painting on glass was generally folk art, so she also chooses themes in this tradition.

Aside from loving the process of painting on glass, Melinda says that this support medium gives her images a very luminous effect. And, the vintage windows are a great conversation piece: just look at “The Farm.” A great way to recycle!

Josiane Childers enjoys painting on smooth surfaces, too. She’s chosen thin sheets of steel, as well as plexiglass to support her beautiful abstract paintings. She works with her husband Justin, who prepares the surfaces, grinding parts of the steel and plexiglass to create texture. He also creates the frames on which the steel pieces are attached.

When she paints on plexiglass, Josiane works on the frosted side, but presents the painting on the smooth side. She encounters the same challenges as Melinda, since she, too, is painting in reverse.

You can see the ground textures in Josiane’s dreamy landscape entitled “Captivate.” They take the paint pigment differently, and since they are darker, they appear to be behind the other images. She’s also created a beautiful reflection of the vertical tree shapes with softer strokes and tones. “I find it exciting to paint on other surfaces,” she said. “It makes my work look more diverse.”

Thin steel gives Josiane another option to present her art. The two pieces of her vertical diptych entitled “Invoke” are uniquely shaped and curved, welded to a flat frame. Again, the textures on the steel show through, offering spontaneous shapes, grabbing color in a different way than the smoother areas. Josiane paints intuitively, using bright colors, and these surfaces seem to work so well for her.

She hasn’t abandoned canvas, but when she does paint on that surface, she textures it as well, using molding paste and then, thick paint. “Materialize” is an example of her mixed media technique.

Nancy Pendleton and her sister, Sandy are both artists. Nancy is a painter and Sandy works in glass. Often, they combine their talents to create mixed media pieces on wood panel. Although that surface is traditional, their collaborative work is not. Nancy paints an abstract ground for Sandy’s glass centerpiece. “We’ve worked out a technique,” said Nancy. “I often use a centerpiece in my art, and Sandy came up with glass pieces that work well in my paintings. You can see examples of this sibling partnership in “What You See Is What It Is #2 and “Oasis.”

Kathryn Blackmun was a graphic designer and illustrator living in Los Angeles. When she moved to Santa Fe, she decided to study ceramics. Now, her whimsical images of dogs, cats, cowboys and cacti are painted on greenware plates.

Kathryn’s challenges are different from those of Melinda’s. She doesn’t paint in reverse, but since she works on gray-colored clay, she can’t see colors accurately when she creates her images with underglaze paint. “The greenware has to be fired for seven hours, and cooled for several hours before I can tell if the colors are what I wanted,” she said. “It’s definitely unpredictable!”

This labor-intensive process ends with a coat of clear glaze, and another firing and cooling. To look at a happy piece such as “Dog Trek,” you’ve never know it was so time-consuming! “Cowboy Palomino” is a good example of Kathryn’s folk art style, which is well-suited to this type of ceramics.

After I finished interviewing these artists, I went to a local thrift shop. Poking around, I found three wood frames with glass inserts. Guess what I’m going to try? But, I’m not abandoning canvas. I have too much inventory!

Let’s take a trip!

By Judy Feldman | www.wildemeyer.com

Summertime is a favorite season to get out of town (especially if you’re in Phoenix) and enjoy the scenery elsewhere. But, sometimes that’s not possible. So, what better way to take a vicarious trip than enjoying a beautiful landscape painting!

There are several wonderful landscape painters at Wilde Meyer. Most are avid outdoors people who love to explore their surroundings in Colorado and New Mexico. Although they all do some studies en plein air, they prefer to take photos and communicate their experiences with larger studio paintings.

Michael Baum said that he and his wife often take road trips in the late afternoon during the summer, “putting on a couple hundred miles, when the light is just right.” She drives, and he takes photos. His painting entitled “Clouds Building” is from one of these trips.

They also take several trips to Utah a year, backpacking and camping in the canyon country. Michael says, “The reality of these places goes beyond what you are seeing. The landscape truly experienced involves all the senses, the subtleties of light reflecting from a canyon wall, the sharp tang of sage in the air, and the coolness of a hidden canyon.”

When he returns to his studio, Michael strives to re-experience his feelings, using his plein air studies and photos. His goal: “to have the viewer experience some of the magic I feel when I’m there.”

I think we can feel the special moment of early morning when we look at “Sunrise on the Bluffs.” And, looking at the cool blues and greens in the beautiful water reflections of “Summer Oasis” makes me forget the summer heat outside! I admire the way Michael has made his mountains recede with muted cool tones, allowing the trees and water to catch the light and sparkle.

Gregory Stocks lives in Salt Lake City, and often paints scenes from the surrounding area. He, too, does small sketches on location and takes reference photos to bring back to his studio. Gregory told me that memory is very important in his work, “as I am able to recall the important aspects of a scene without being bogged down by all of the information that’s not necessary to communicate what I felt in the location at the time.”

His painting entitled “In Harmony” reflects Gregory’s process, and his feelings towards that place along a creek. His beautiful brush strokes and fiery hues tell us that this is a lovely autumn day. The reflection of the sky and trees in the water brings the viewer into the painting, and invites us to stay a while.

Gregory also uses memory to call upon scenes from his youth in the Snake River Valley of Idaho, where he spent his teenage years. “I don’t remember caring so much about the landscape when I was there, but now I’m mining it all up,” he says.

“In a Big Sky” is one of Gregory’s Idaho memory paintings. He says that the winding river and rural scene juxtaposed against the big, colorful sky communicate his emotional response to the area. “I like to refer to a painting like this one as having a sense of ‘breathing room,’ of depth and space and an atmosphere that I can almost feel.”

I think we can agree with that, as well as his wonderful comment that painting is “an emotional vacation that I can take any time.”

Stephen Morath takes a different approach to his paintings. He uses references to places he’s been, but it’s more of a distillation of various landscapes. And, there’s usually a story to tell. For example, “Another Baja Moonrise” shows an unusual image of a desert landscape looking across the Sea of Cortez. But the tall palm trees and the VW bus imply there’s a bigger tale here. According to Stephen, the couple represents Adam and Eve, “totally alone in an exotic landscape.” I guess the snake is another clue. The “hippie vehicle” is something Stephen always wanted!

Since he enjoys painting with cool colors, Stephen likes to portray a scene at the end of the day, or, as with “Morning Moon,” at first sunrise. He commented that his work has an air of “magical realism,” meaning that his attention to details is somewhat unnatural, and his landscapes definitely have a romanticized perspective. The red truck is a wonderful accent against the cool morning desert.

Sometimes, Stephen lets his imagination take over the painting. In his work entitled “Mescalito,” we see what looks like a New Mexican landscape, but there are many characters in this story. I was first drawn to the horseman in the foreground with the cactus face, but then my eyes went everywhere, looking at the images and trying to decipher their meanings. I’ll leave you with that comment. To see more, and come to your own conclusions, it would be best to see the painting at Wilde Meyer!

Please join us for the Summer Spectacular Artwalk
Thursday, July 10th from 7PM-9PM
On Display at both Scottsdale locations
For more information click here

Artist News

www.wildemeyer.com

Wilde Meyer Gallery represents so many fine artists; we thought we should give you a sampling of some of their recent achievements and honors.

Timothy Chapman, Michelle Chrisman and Jeff Cochran are all included in a new hardcover book Contemporary Art of the Southwest. This is a beautiful high gloss book representing the best artists of the American Southwest. Author is E. Ashley Rooney with forward by Chief curator of Contemporary Art for the Tucson Museum of Art – Julie Sasse.


Timothy Chapman is also exhibiting his work in the US Embassy in Nairobi Kenya.



Trendy Santa Barbara Magazine chose to feature Karen Bezuidenhout's paintings in a home located at fabulous Rincon Beach. Karen has also completed commissions going to Johannesburg, South Africa, and Noosa Australia.

Bill Colt and Andrea Peterson’s paintings were real hits in their Scottsdale restaurant, so Del Frisco’s is now including them all over the United States.

Debora Stewart is finishing her book Abstract Painting: Expressions in Mixed Media. North Light Books will release it April 2015. In the “how to” book Debra shares her secrets for creating pastels and acrylic paintings. One of her recent pastels is on exhibit in Boston at the acclaimed Vose Gallery as part of the International Association of Pastel Societies.

Celebrating 25 years as an artist, Gregg Rochester’s “Tour d’ Art” (bicycle art show), will tour Europe this summer and be featured in New York and Miami later this year. Greg is a well know landscape painter featured on the National Endowments for the Arts website, and named Wisconsin Artist of the year.

Ceramics artist Kari Rives was awarded a merit award by juror and international celebrity artist Leopold Foulem. Juror Jim Romberg chose Kari’s work to be included in the Western Colorado Center for the Arts - Ceramics Biennial.

Sarah Webber’s “Seated Bunny” was chosen to be part of Art of the Animal Kingdom XIX at the Bennington Center for the Arts.. “Are You My Momma” was juried into the American Women Artists 17th Annual National Competition in Orleans, MA.

Wilde Meyer’s talented artist and blogger Judy Feldman had a painting “Friends” included in the Shemer Art Center show, “Animal Other”.

Jamie Ellsworth is included in two new books. 100 Artists of the Northwest written by Ashley Rooney, and 1000 Dog Portraits written by Robynne Ray; both include beautiful work by Ellsworth.

Tracy Miller and Suzanne Betz are both participating in “The Cloud Foundation Annual Art Exhibit”. This is a celebration and fundraiser for Wild Horses through Art and Music. This is a really worthwhile cause helping to save our wild horses.

Selected as a finalist for this year’s Athena Award, Tracy Miller said it “was a real honor to be nominated. The award is given to outstanding businesswomen in the community, and I believe I was the first artist ever to be in the group”. Tracy was also selected out of 1100 artist submissions to be included in the new book Acrylic Works, The Best of Acrylic Painting by Nancy Reyner, published by North Light.

Sushe Felix exemplifies the beauty of the Sonoran desert through her paintings. Over one dozen of Sushe’s paintings were used to illustrate the beautiful program for the 2nd annual Tucson Desert Song Festival. I do not know who originally said this: “Visuals can be Music for the Eye”, but it is appropriate here, for these paintings are truly “Music for the Eye”.

Collecting 101

(actually, Collecting more than 100)

By Judy Feldman | www.wildemeyer.com

Collecting original art can be a bit stressful for first-time buyers. You can walk into a gallery and be overwhelmed by choices of styles, subjects, colors and sizes. The prices, too, can be out of reach for some would-be collectors.

Betty Wilde, one of Wilde Meyer Gallery’s owners, said that gallery visitors are often afraid to make their first purchase. But, she tells them, “Buy your first piece, and you’ll be hooked on original art. Posters won’t do it for you anymore!”

Some people are initially convinced that they have to purchase art that matches their décor. Betty tells them that their tastes will come through in their selection. “Chances are, you’ll gravitate to colors that you like anyway. Choose what you like, and what you’ll enjoy living with in your home.”

Betty has found a way for art lovers to dip their toes into the wonderful world of art collecting, and helping animal charities at the same time. During the month of June, the gallery at Marshall Way will host a “100 for $100” show. More than 40 artists are participating, and each painting will sell for $100, with much of the proceeds going to several animal charities.

“It’s a great way to get to know many different artists,” Betty said. “It’s always easy to find a place for a small painting, and at this price, you can even make a grouping of several paintings without spending too much.”

Many of the paintings have been created by the artists expressly for this show; others, including Jamie Ellsworth and Chaille Trevor, have included larger paintings as well, because they want to help the charities.

Last year, the show was so successful, that the gallery will be selling more than 100 paintings through a lottery system. The images will be emailed to all of you next week; you can put your name on a list for a particular painting, and a name will be drawn for each painting on Friday, June 5. This is your chance to start (or continue) collecting!

Cowboy Art Reinterpreted

By Judy Feldman | www.wildemeyer.com

The “cowboy artist” has long been associated with American art. The lore of the West and the cowboy lifestyle are good source material for many painters. Some artists like to portray these themes in a more contemporary way. The cowboy – or cowgirl – is still in the picture, but in a stylized, interpretive manner.

For example, Amy Watts – who is actually a southern gal from Georgia – has a unique style that enables her to tell her stories in a modern way.

“I’ve been a cowgirl all my life,” she said. “Western history has always fascinated me, and I was a horse trainer for 20 years. Amy received a college degree in art illustration, but she didn’t start painting seriously until she stopped training horses. Her epiphany came at a visit to the Booth Western Art Museum in Cartersville, Georgia. “I admired the paintings of Shonto Begay, and I realized that I was already interpreting Western art in a more contemporary way.”

Amy says she likes to tell a story in her paintings. In “The Black Mare’s Life,” Amy portrays the life cycle of a horse. Surrounding the focal area of the horse and its cowgirl rider, there are smaller sections that depict its life. The upper left circle shows the young horse in a field with its mother; in the upper right circle, the horse is being trained for the first time by a cowgirl; and in the lower right area, the horse has been turned out to pasture in retirement.

A key component of Amy’s contemporary take on western art is her use of patterns and her illustrative style. “My grandmother was a quilter, and I think that influenced me. Also, I grew up around roses, and that pattern appears frequently in my work.”

“The Good Samaritan” is another example of Amy’s modern interpretation of an old story. Taken from a biblical parable of hope and how one should behave, this painting depicts a Native American man helping a stranger. The figures are stylized, and the colorful patterns create a finely designed background. It pays to look at Amy’s work closely, since something new is always emerging from the painting!

Charles Davison has a different approach to a southwestern theme. A collector of textiles, beads, buttons and other items, he creates collage pieces that present his subjects with a fresh approach. In his painting entitled “Back Road Boys,” the cowboys strike a typical pose, but the mood is very playful. The colorful clothing is cut from different fabrics, and collaged, along with buttons on the shirts and neck scarves. Another evidence of Charles’ contemporary style is his layering of paint, fabric and paint again to create the textures he wants.

His love of textiles can also result in a new textile of Charles’ creation. “Running Horses” is presented on an unstretched canvas, painted with many layers and collaged with fabrics and bits of beads and buttons.

Charles is inspired by southwestern art, as well as the rock formations around his home in Superior, AZ. “My work is more mystical than representational,” he said. In “Night of the Vision” he alludes to Native American spirituality, and clothes his characters in strips of fabric, beads and antique jewelry.

Thom Ross calls himself a “storyteller who paints.” His narrative art has a very specific theme and purpose. He focuses on iconic western American heroes who have become mythic figures.

“I’m interested in how we take a story with an historical foundation, and turn it into a more romantic version of the actual truth,” he said. “In my paintings, I like to depict these heroes as real people who are actually much more interesting as human beings with their own flaws.”

Thom sees the humanity in his figures, but he still portrays them in a stylized, graphic way. These cowboys are active, yet they appear flat. Their long legs stretch under full-length coats, and their macho look is accentuated by their strong – yet not very defined - faces under their big-brimmed hats. I especially like the geometric shadows he places under his figures. A good example of Thom’s style is his painting entitled “They Cast Long Shadows,” which refers to the three Earp brothers from the gunfight at the OK Corral.

“These men cast long shadows in our western culture,” he said. “They are insignificant outside of their mythology, which embodies the human spirit and courage.”

The “Clanton Gang” also refers to the story of the OK Corral. The Clantons are crossing Allen Street and going to their death, according to Thom. The line he painted underneath each figure is symbolic of their crossing and their courage. “With that decision, these unknown men become part of a world famous story,” he explained.

These contemporary artists express many themes we already know, but it’s nice to see them portrayed in a new light.