Tag Archives: drawing

Art is just feelings…

by Juan Barquero

angle

angle

corporeality

corporeality

dance

dance

feelings

feelings

Juan Barquero-meet

meet

orgasmic

orgasmic

passionate

passionate

perspective

perspective

pleasure

pleasure

visceral

visceral

 

Artist: Juan Barquero

French. Born in Chile. I live and work in France currently.
 
“Everything is spontaneous, without sketch or scenario. Just feelings.”

Celebrating the gentle contours of the female body with fine, sensual, fluid lines that reference an unrestrained dance, Juan’s drawings provide a seductive entry point to an intense oeuvre, introducing enduring themes of sensuality, corporeality and temporality.
 

http://www.juanbarquero.work

https://www.instagram.com/two_edged/

https://twitter.com/two_edged

 

Postcolonial Thoughts: Thoughts on Pedagogy of the Visual Artist

by Christopher Hutchinson

Pedagogy

noun, plural pedagogies.

1.the function or work of a teacher; teaching.

2.the art or science of teaching; education; instructional methods. http://www.dictionary.com/browse/pedagogy

 

This opinion has developed from years of experience teaching visual art on the collegiate level and recognizing that there are an increasing number of  students that want to be art majors–and the majority consider themselves illustrators.   Most of these students come to introduction art classes ill-equipped and advised.  This article is an exploratory investigation into such a student’s attitude and pedagogy.

This trend was confirmed recently during a visiting lecture to a mixed media classroom of high school students that overwhelmingly wanted to be illustrators.  The classroom of students had their portfolios and every student had the same bad habits that they will have to unlearn to become successful in the average college visual art foundation courses.

Note 1-Illustrators struggle in drawing class

 

Many of these high school students believe that illustration is an easier, freer, and cooler path to eventually produce their own cartoon/manga. In the very beginning of a student’s visual art journey, one should be open to many mediums and processes.  Elementary  through undergrad should be a fertile ground of experimentation with everything visual.  Each medium and field has its champion or interest that leads to further development, a development that cannot be fulfilled with just illustration. Any young artist that has not explored these with the same lust for creating is missing out.  Settling on illustration/animation in 9th grade is the equivalent of saying “hotdogs are the best food ever and there is nothing you can say to change my mind.” In the high school years students should become a fan of art and other processes.  They should be open to receive and consume all aspects of art to eventually make informed decisions.  Experiment with everything such as watercolor, etching, oil paint, drawing–especially drawing.

Note 2- Doodles are not drawing studies

In art, a study is a drawing, sketch or painting done in preparation for a finished piece, or as visual notes. Studies are often used to understand the problems involved in rendering subjects and to plan the elements to be used in finished works, such as light, color, form, perspective and composition. https://en.wikipedia.org/wiki/Study_(art)

Many of these self-proclaimed illustrators/animators cannot draw and have a very difficult time in introductory drawing classes on the collegiate level. These students often do not perform as well as students who are taking the course as a elective.  The elective students have not built up years of bad habits.  Elective students have not built up years of ego so they have the patience to receive proper information.

 

By focusing on illustration/animation as a student’s initial point of interest, bad habits get ingrained and affirmed for years.  Students are actually training themselves to have extreme contrast as a form of reality, but in reality contrast is not nearly so common.  They end up using super black sharpie markers and mechanical pencils, with no understanding of the many levels of gradation and value there are.

Sharpies and mechanical pencils are not the tools of someone interested in drawing. This problem is evident when these students attempt a a simple value scale.

 

At best, the years of copying their favorite X-Men characters leads to lineweight.  But surprisingly, many of these students’ linework also lacking.

Lineweight is a term that describes the relative ‘weight’ – strength, heaviness, or darkness – of the line against the background or support. It is governed by the pressure on your drawing tool as you make your line – whether this is decreasing or increasing the pressure on the tip so that it leaves behind more or less medium – or altering the angle so that more of the tip is in contact with the paper. http://drawsketch.about.com/od/drawingglossary/g/lineweight.htm

These doodles might as well be scribbles due to the fact that learning the nuances are not learned, rather they are crude lines void of aesthetic.  The doodles of these students are not learning when the majority of what they are practicing is copying a flat image, not looking at life. Those doodles are not studies.

These students’ doodles represent another major problem on the collegiate level: not being able to finish a work of art.  They have many sketchbooks of doodles without a portfolio of large complete pieces.  The work for years without ever completing anything. The point of the study is to learn to finish.  These students end up with a huge ego and years of unfinished work.  Ego comes from completion, not hype.

Note 3- Copying a style is not creative or unique

Students that claim to be interested in illustration/animation are not actually interested in drawing or art making.  They are interested in developing a “style unique to themselves.”  This usually means they want to copy a specific type of style and change the accessories of the character to make it “unique.” Most of these students come with this in mind as a valid pursuit of a career.  This is a huge mistake.  Copying a style is not a creative or artistic choice and definitely not unique.

Note 4-Pedagogy

After a little critique and probing of the high school classroom portfolios, the real reasons began to emerge as to the motivation behind wanting to become an illustrator.  What came up was excitement about the narrative, the movement, and the color of illustration.  Here is where pedagogy can have a huge effect with some additional probing, some additional recommendations, and support.  If a student is more interested in narrative, they need to be more equipped as a writer.  If a student is more interested in movement, then what kind of movement–physical movement or illustrated movement? If color–interested in what kind of color–muted, saturated, color application?

This new crop of self-proclaimed illustrators and teachers have to explore and challenge what illustration really means.  Many of these students, when they come to to the collegiate level, end up changing majors due to being ill-equipped artists that believe the skill of copying is an art form. They are very impatient students and expect quick results. There is a reason art classes are 3-5 hours long. Artmaking is not for the someone interested in quick results.

Christopher Hutchinson 2Christopher Hutchinson is an accomplished Jamaican conceptual artist, professor and contributor to the art community as a writer, critic and founder of the nonprofit Smoke School of Art. He is a Professor of Art at Atlanta Metropolitan State College and has been featured as a lecturer including prestigious engagements at University of Alabama and the Auburn Avenue Research Library. For two decades, Chris has been a practicing artist. His works have been exhibited in internationally recognized institutions including City College New York (CUNY) and featured at the world’s leading international galleries such as Art Basel Miami. He has always had an innate passion for creating spaces where Africans and people of African descent contribute to an inclusive contemporary dialogue—ever evolving, not reflexive but pioneering. This requires challenging the rubric of the canon of art history, a systemic space of exclusion for the Other: women and non-Whites, and where necessary he rewrites it. He received his Master of Fine Arts Degree in Painting from Savannah College of Art & Design, Atlanta and his Bachelor of Arts Degree from the University of Alabama in Huntsville, Alabama.

Without the Darkness We Cannot See the Stars

by Evre Başak

Evre Başak -01-the great Jupiter

Evre Başak-02-The Moon

Evre Başak-03-The sun

Evre Başak-04-Spaceborne

Evre Başak-05-Insider

Evre Başak -6-The Bound

Processed with VSCOcam with m3 preset

Processed with VSCO with m3 preset

Evre Başak-09-Far-From-Hell

Evre Başak-10-Awaken

Evre Başak -11-Old-Man-of-Storr

Evre Başak-12-Stonehenge

 

Evre BaşakEvre Başak was born and raised in Istanbul, a grand old, culturally diverse metropolis in which exists a rare example of how antiquity and modernity can blend together in perfect harmony. She has been drawing and painting ever since she worked out how to hold a pencil. Since graduating from Mimar Sinan Fine Arts University 7 years ago, she has been a professional senior fashion and print designer. Meanwhile she has continued to refine her drawing and painting skills while maintaining a consistent output of original work. Examples of her work have been exhibited at The Marmara Pera Gallery, Milk Gallery, Mtaär Gallery and at Mimar Sinan Fine Arts University. In 2008, she won the international design award, “The Future of National Textile Design Award”.

Evre’s artistic passion is nourished by the mysterious power of Mother Nature, the animal kingdom, the universe; and the dark, fantastic romanticism and captivating characters found throughout history and in fairytales. She is trying to capture the positivity, beauty and romance of “the darkness” in order to show that without it, we cannot see the stars.

email: evre.basak@gmail.com

website : http://artofevre.com

facebook : https://www.facebook.com/artofevrebasak/?ref=aymt_homepage_panel

instagram : http://www.instagram.com/artofevre/

twitter : http://twitter.com/evrebasak

pinterest : http://pinterest.com/evrething/art-of-evre/

 

Rotating Selves

by Eleanor Adair and Gabriel Vilanova

The Rotating Selves project comments on the traditional artist/model relationship in art and how this materialises online, with neither the artist or model meeting in real life

It began through a series of messages on Twitter between Scottish artist Eleanor Adair and Spanish artist Gabriel Vilanova. Both had been following each others’ art and had felt a connection due to their focus on figurative drawing. When Gabriel suggested they try to find a way to work together, Eleanor proposed the idea of rotating a series of portraits between themselves online.

Both artists began by creating a self portrait taken from a photograph that was kept hidden from the other. This self portrait was then forwarded to the other artist who created a new portrait from the image. Once completed, this got sent back to the original artist who created a further portrait from that. This rotation continued until a series of 10 portraits in all were completed, five of each artist. As neither artist was able to see the original photograph, the portraits developed solely from the other artist’s interpretation.

Eleanor 4 strip_a

 

This slideshow requires JavaScript.

 

gabriel strip_b

 

This slideshow requires JavaScript.

 

Thoughts on the virtual collaboration process:

Eleanor: For me the potential to work virtually with an artist whose work I felt a real connection to was incredibly exciting. The idea that we could both create portraits of one another, despite having never met, was one I really wanted to explore. So, the project began with us agreeing on some concepts, that we would both begin with a photograph of ourselves and from this draw a self-portrait. We’d then send this drawing to the other artist who would create a portrait from it, before it was sent back and so on, until we had a set of ten portraits, five of each artist. Neither artist was able to see the original photograph, so that the portraits developed solely from the other artist’s lines.

I was intrigued by the concept of developing my own lines from Gabriel’s, of giving over my face and watching someone else move it around and seeing myself and my art emerge through another artist. How would our styles differ and would we pull or push each other in our own directions? And there was always the prospect that we would push each other into places we wouldn’t normally explore. Initially I had wondered whether keeping the project to drawing would reflect limitations, that it would somehow feel contained within a medium and be a lesser form of what it could be if we painted. Actually what’s happened is that its shown me the vast scale and potential for drawing, that you can convey a huge amount in line without paint. What was amazing was seeing Gabriel create not just different factions of me, but my whole family within my face. I’d recognise my mother and father, myself as a child or how I looked when I was feeling differently. But it was also inspirational in the way his lines generated new ideas for me in how I responded in subsequent drawings.

Gabriel: I’ve always admired portraiture as a genre. Especially when it’s not commercial, when the only client is the artist himself. It’s then the art becomes truly and freely driven. I’ve always appreciated Velazquez in this respect, especially his series of dwarf paintings which are beautifully free and visceral, where the sole purpose seems to be to capture the souls of those portrayed.

How the project emerged with Eleanor was that we discarded superficial notions of portraiture. This was needed to submerge ourselves completely into the introspective process of self-portraiture. This introspection was enhanced by the added vision of the other artist, so that through a process of visual feedback, two artists who don’t know each other in real life and know little about each other’s lives, who don’t share a common language, were able to connect. The result was a discovery of each other through invisible and unconscious elements that emerged as a visual language.

I’ve no choice then but to thank Twitter for the ability to connect with Eleanor and share this soul searching process together.

Eleanor: Online is generally seen as the lesser version of something authentic and I wanted to work around that idea and try to produce something substantial. I think we’ve commented on the traditional artist/model relationship within art and hopefully managed to be inventive through a virtual space. It’s nevertheless a very real space in terms of how we perceive each other and the life we’ve given each other through our lines. A self-portrait for me isn’t about what I look like, but recognising myself in something, and I feel this is a connection that’s definitely been made through Gabriel’s work.

For more about the project, including a look behind the scenes, click here

 

Eleanor Adair is a Scottish figurative artist whose work is concerned with issues of self-consciousness and identity. She has exhibited internationally and has no formal art training. She currently lives and works in Scotland.

Website- http://eleanoradair.com/
Twitter- https://twitter.com/eleanoradairart
Facebook- https://www.facebook.com/eleanoradair.co.uk

Gabriel Vilanova is a multidisciplinary Spanish artist who specialises in both traditional and digital painting and drawing. He trained in the visual arts in Granada and also works with photography, illustration and design.

Website- http://gabriel-vilanova.blogspot.co.uk/
Twitter- https://twitter.com/GaitoVilanova
Facebook- https://www.facebook.com/gaito.arte

 

Imagine

by Freddy Kirsheh

Angelic thought - digital painting

Angelic thought – digital painting


Concentration - Digital painting

Concentration – digital painting


Dany - digital painting

Dany – digital painting


Herz-Jesu-digital painting

Herz-Jesu – digital painting


Horse by the sea- Digital painting

Horse by the sea- digital painting


Modern global sensations - digital painting

Modern global sensations – digital painting


Moments of creativity - digital painting

Moments of creativity – digital painting


Palettre Spectra - Digital painting

Palettre Spectra – digital painting


Peace Dove - Altered water colors

Peace Dove – altered water colors


Peace of mind - digital painting

Peace of mind – digital painting


Sans parole - altered water colors

Sans parole – altered water colors


The greatest Creation- digital painting

The greatest Creation- digital painting


SHATTERED SELVES - 2014 Mixed media- drawing & digital painting

SHATTERED SELVES – 2014 Mixed media- drawing & digital painting


What Could Be In Woman's Heart - digital painting

What Could Be In Woman’s Heart – digital painting


Why you stone me - digital painting

Why you stone me – digital painting

 

Freddy Kirsheh Profile picsArtist: Freddy Kirsheh

Place and Date of Birth:                Damascus / 19.05.1953

Lives in Vienna

Fine Arts,  BA  degree  in interior design

Working  in  Interior  Design Decoration and  graphic design

His interior design and artworks works  was in: Damascus, Beirut, Cairo, Sharjah, Dubai, Athens, Paris, New York

freddy-kirsheh.fineartamerica.com

https://www.facebook.com/Freddy.Kirsheh

 

 

Beauty of Line

by Jerry Shawback

Jerry Shawback Image 2

Jerry Shawback Image 3

Jerry Shawback Image 4

Jerry Shawback Image 5

Jerry Shawback Image 6

Jerry Shawback Image 7

Jerry Shawback Image 8

Jerry Shawback Image 9

Jerry Shawback Image 10

Jerry Shawback Imge 11

Jerry Shawback Image 12

Jerry Shawback Image 13

Jerry Shawback Image 14

Jerry Shawback Image 15

 

Jerry ShawbackArtist : Jerry Shawback

Jerry Shawback uses drawing as his primary form of expression. He studied communication design in Los Angeles at the Otis Art Institute of Parsons School of design, a division of the New School for Social Research. Jerry worked as a freelance designer, commercial artist, and animator for the entertainment industry.

After a ten year hiatus from the art world, Jerry returned to painting in 2007,  as a primary focus producing a series of self portraits encompassing various artistic motifs, while maintaining an underlining vision, cohesion and emotional honesty.  The artist’s self portrait series explores identity through multiple approaches to the same subject matter. Stylistically varied, they reveal the strange and vulnerability essence of the human condition. Jerry is now working on a series of paintings and portraits exploring self through images of others.

His affinity for people, observation of life and strong draughtmanship is apparent in his depiction of the human form and informs Jerry’s painting. Other influences include: Rico Lebrun, Egon Schiele, Francis Bacon, Lucien Freud and his mentor Cornelius Cole III.

Jerry has been sharing his works on paper daily on social media, documenting the lives and experiences around him. Exploring the subtle beauty of line through a continuing study of the human form is a common thread that permeates all his work.

Jshawback.tumblr.com

Twitter@jerryshawback

 

Witchery and Thievery

by Yazmin Basa

Anthem

Anthem

Eons It Seems

Eons It Seems

Blue Autumn

Blue Autumn

Outside the Fairy Kingdom

Outside the Fairy Kingdom

Ode

Ode

Portrait of a Lady Amidst A Red Damask Background

Portrait of a Lady Amidst A Red Damask Background

Ennui Hamper

Ennui Hamper

Indigo

Indigo

Invisible Strings

Invisible Strings

Medieval Angel

Medieval Angel

My Breath Quits

My Breath Quits

Be Still Your Heart

Be Still Your Heart

In Good Company

In Good Company

Artist: Yazmin Basa

Art and yoga have been center stage in Yazmin’s life. She hails from the world of commercial art, having produced and art directed various in-house broadcast promotions for top TV brands. She has moved around to work for top cable companies in Hong Kong , New York, and Singapore. The discipline and work ethic in the commercial world keeps her grounded and she appreciates being able to understand the needs of a business to have reliable people to keep promotions alive. Now an executive for Video On Demand space for a Silicon Valley company, she is also setting her sights on worthwhile after hours activities – creating more paintings, dabbling with oils and watercolors and also making decoupage art with upcycled bottles. She also sells her artwork at Fine Art America, Society 6, Red Bubble and will open store in more Print On Demand sites. She has also written for various spa, yoga and travel publications. An active wiccan, she has a profound love for nature, and is often found creating artwork and writing poetry during frequent excursions in the countryside or by the sea. She is now mid-way through her first illustrated poetry book titled “Witchery and Thievery”. All the artworks shared here are her works in progress for this book.

Website: http://witcherythievery.blogspot.com/

FAA link:  http://fineartamerica.com/profiles/yazmin-basa.html

Society 6 link:  https://society6.com/yazminbasa

Red Bubble link:  http://www.redbubble.com/people/yazminbasa

Facebook Page: https://www.facebook.com/Yazmin.Basa.Art/

Things To Do With Yesterday’s Paper

by Andrew Hitchen

Surprise

Surprise

 

Guilty!

Guilty!

 

Escape

Escape

 

Laundry

Laundry

 

Umbrella

Umbrella

 

Paper Christmas Tree

Paper Christmas Tree

 

Yoga Mat

Yoga Mat

 

Paper Moon

Paper Moon

 

Origami Fish

Origami Fish

 

Paper Boat

Paper Boat

 

Bandages

Bandages

 

Paper Stars

Paper Stars

 

Owl Impression

Owl Impression

 

Paper Bird

Paper Bird

 

Duvet Cover

Duvet Cover

 

Andrew HitchenAndrew Hitchen is a freelance illustrator based in London, UK. His distinctive style of drawing has earned him numerous commissions for magazines, newspapers, theatre groups, events and indie record labels over the years. His current artwork is now a fascinating blend of traditional and modern techniques, drawing inspiration from Pop Art, Graphic Novels. Surrealism, Cartoons, Music and Children’s Literature. Andrew is also the creator of the popular ‘Things To Do With Yesterday’s Paper’ series – a collection of whimsical drawings involving a mischievous black cat and its various creations with a sheet of old newspaper. The illustrations in this series have been described as “unique, memorable, and lively” and have been attracting the attention of both children and adults alike.’

 

Redbubble: www.redbubble.com/people/hitchen/shop
Website: www.andrewhitchen.com
Facebook page: facebook.com/paperclaws
Society6: https://society6.com/andrewhitchen
FAA: fineartamerica.com/profiles/andrew-hitchen.html.

 

Savage Shapes

by Eleanor Adair

I’ve always been interested in how self-consciousness alters our identity, so my art naturally becomes a way of exploring the different ways we define ourselves through others. I’m heavily drawn towards figurative art, and find the human form the best place to look at the extremities and disruptions that push us beyond the predictable and make the body talk. I tend to be an instinctive painter, so that I work in the moment rather than from plans. I think this means the art is less censored, less concerned, even if it’s more chaotic or absurd. With figurative art, the artist plays a role in filling up space that challenges the contained, precise and predictable forms we’re so often presented with. Once eyes start moving outside of those shapes they become exciting again. The bodies that materialise in my own work are an alternative account of the routine human form; bodies for eyes that like to wander.

Line Dance, oil on canvas 60x75cm

Line Dance, oil on canvas 60x75cm

Line Dance 2, oil on canvas 60x75cm

Line Dance 2, oil on canvas 60x75cm

Line Dance 3, ink on paper 20x30cm

Line Dance 3, ink on paper 20x30cm

Lemon, oil on canvas 100x75cm

Lemon, oil on canvas 100x75cm

Lemon 2, oil on canvas 100x75cm

Lemon 2, oil on canvas 100x75cm

Swans, oil on canvas 100x75cm

Swans, oil on canvas 100x75cm

Angels, oil on canvas 60x75cm

Angels, oil on canvas 60x75cm

Floorboard, oil on canvas 50x60cm

Floorboard, oil on canvas 50x60cm

Head studies 1,2 & 3, felt pen on paper each 20x30cm

Head studies 1,2 & 3, felt pen on paper each 20x30cm

Yellow Evolving, pen on paper 30x40cm

Yellow Evolving, pen on paper 30x40cm

Yellow Evolving 2, pen on paper 30x40cm

Yellow Evolving 2, pen on paper 30x40cm

On Pink, pen on paper, each 20x30cm

On Pink, pen on paper, each 20x30cm

Bluemen, pen on paper 30cmx40cm

Bluemen, pen on paper 30cmx40cm

Blueman 2, pen on paper 30x40cm

Blueman 2, pen on paper 30x40cm

 

Eleanor AdairEleanor Adair was born and grew up in Glasgow, Scotland. She has exhibited internationally including London, Paris, Edinburgh and in the US. She has no formal art training and currently lives and works in Edinburgh, Scotland.

Artsexcreations

by Artsexcreations

Artsexcreations is a collaborative series of artwork by Bruce Neeley and Lesley Bentley. We call it ‘artsexcreations’ because our art is like babies from the commingling thoughts in our personal mind-theatre whereby we share our collaborative view of the world as how we desire to see and create it. Life can be difficult and painful at times and we hope that our art shares our love and humor with the world. Bruce Neeley chooses pieces from Lesley Bentley’s drawings and performs his artistic artsex digital magic to produce the final pieces you see displayed.

Artsexcreations-Expanded Thought

Expanded Thought

Artsexcreations-Ethereal Escape

Ethereal Escape

I’m Lost, I’m Scared, I’m Rock Hard

I’m Lost, I’m Scared, I’m Rock Hard

Modern Child Psychology

Modern Child Psychology

The Descent

The Descent

Pocahaunted

Pocahaunted

Priestess of the Heavens

Priestess of the Heavens

 

From Bruce: Lesley and I are a good fit on a psychological level, and my process fits in well with our approach. I take from a file of work Lesley sends me and work with it as though it were my own. We really are about the acceptance of the other. We work to create a piece of art for the greater good. It is about trust and respect at a level comparable to a an intimate relationship. It’s a very unique experience to be working so closely with another person’s work. I would say even spiritual. My strongest motivation is to please Lesley, and as with any work, give the public in general a memorable experience. I have never met Lesley in person, although we have talked. I think it would be fun to have a solo exhibit and meet there for the first time. This project has been a joy for both of us. We both have a good sense of humor and as artists we just enjoy the play. We share a sandbox.

 

Original work by Lesley for “Fantasy and Reality”:

Artsexcreation-Original work by Lesley for %22Fantasy and Reality%22

“Fantasy and Reality” (finished collaboration):

Artsexcreations-Fantasy and Reality

Fantasy and Reality

 

This is the original work Lesley sent to me which I added to “Dat Bitch Got Crabs”:

artsexcreations-Original work from Lesley for Dat Bitch Got Crabs

“Dat Bitch Got Crabs” (finished collaboration):

Artsexcreations-Dat Betch Got Crabs 100

Dat Bitch Got Crabs

 

 

Learn more about Artsexcreations:

Websitehttps://artsexcreations.wordpress.com/

Twitterhttps://twitter.com/artsexcreations

Facebookhttps://www.facebook.com/artsexcreations

 

Bruce NeeleyArtist Bruce Neeley:

I was primarily self-taught. I had 3 solo exhibits of oil paintings at various alternative spaces in my early 20s. In my 30s I attended the Kansas City Art Institute via scholarship. My course of study was drawing and painting. It has been about two years since I started working in a digital medium, although most of my work has its origins in drawings and paintings. Usually I draw, photograph it, and work on its manipulation electronically.

Awards and Exhibits to my credit include:

1995 Annual 5 State Juried Exhibit in Salina KS. Jurors award by Charles Moffet, Senior Curator of Painting from the National Gallery in D.C.

1997 Annual 5 State Juried Exhibit in Salina KS. Jurors award by Robert Workman, Senior Curator of Painting at The American Federation of Arts in New York.

1998 Solo large scale drawing exhibit ( Torments of the Self ) at the Mingunbach Arts Center in Lindsburg KS.

2010 14th Annual Northeast Arts Juried Exhibit in Kansas City. Award for best 2D work.

2012 16th Annual Northeast Arts Juried Exhibit in Kansas City.

2013 17th Annual Northeast Arts Juried Exhibit in Kansas City. Award for best 2D work, and Award for best themed.

2014 18th Annual Northeast Arts Juried Exhibit in Kansas City.

2015 19th Annual Northeast Arts Juried Exhibit in Kansas City. Award for best 2D work.

Currently preparing for all digital solo exhibit here in Kansas City of next year.

Facebook: https://www.facebook.com/Neeley808
Twitter: @Breton1924

 

Lesley BentleyArtist Lesley Bentley:

I am a self taught artist from Houston, Texas. I grew up drawing with my mother and aunt who were artists. My drawings come from dreams and recurring thoughts about energy, manifesting thoughts, creation, recreation, healing, desire, humor, love and animals. I almost always include my face in my drawings. Sometimes I include the face of my deceased aunt. I think art heals people, introduces new thinking patterns and improves humor which increases joy in your life.
In addition to Artsexcreations I have my personal drawings on the following links:

https://fefelovemindtheatre.wordpress.com/
https://twitter.com/fefelove99

 

 

%d bloggers like this: