Tag Archives: painting

Imperfect Beauty

by Thomas Donaldson

thomas-donaldson-1-head-and-torso-study

thomas-donaldson-2-figure-study-on-green-oil-on-canvas-100x80cm

thomas-donaldson-3-portrait-study

thomas-donaldson-4-standing-figure-oil-on-canvas-100x80cm

thomas-donaldson-5-figure-study-mixed-media-on-paper-56x38cm

thomas-donaldson-6-head-study-oil-on-canvas-120x120cm

thomas-donaldson-7-standing-figure-oil-on-canvas-100x80cm

thomas-donaldson-8-heads-with-grey-oil-on-paper-38x38cm

thomas-donaldson-9-head-study-ink-watercolour-and-acrylic-on-paper-27x18cm

thomas-donaldson-10-head-in-pink-oil-on-paper-38x38cm

thomas-donaldson-11-head-study-oil-on-canvas-120x120cm

thomas-donaldson-12-standing-figure-sara-mixed-media-on-paper-56x38cm

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thomas-donaldson-bio-picArtist: Thomas Donaldson

Thomas is an English figurative painter and Lecturer based in Asia. He received his Master’s degree from Newcastle University in 2000 and since then has taken part in numerous exhibitions globally. His visceral works depict the portrait/nude which has been a traditional subject within the history of painting, which is easily recognizable and has been painted over and over again. This familiarity with the subject and the ideal of beauty in an increasingly over photo-shopped media allows Thomas to develop the process of painting through abstraction, mark making and impasto and at the end of the process still have something that remains familiar although imperfect and slightly awkward.

Website: http://www.thomasdonaldson.biz

Facebook   https://www.facebook.com/thomas.donaldson.art

Instagram   https://www.instagram.com/thomasdonaldsonart/

Twitter       https://twitter.com/thomasdonaldson

Pinterest     https://www.pinterest.com/thomasdonaldson/

Tumblr       http://thomasdonaldsonart.tumblr.com/

 

 

 

 

The Paths Converge

by Margaret Lipsey

Coco

Coco

Holidays

Holidays

Spring Dance

Spring Dance

The Blues

The Blues

Tools

Tools

Birds

Birds

Diversity

Diversity

Imagination

Imagination

Aspirations of Unanimity

Aspirations of Unanimity

Grey Area

Grey Area

Catching Waves

Catching Waves

Changes in Soil

Changes in Soil

Rain

Rain

The Journey

The Journey

untitled_margaretlipsey

 

margaret-lipseyArtist: Margaret Lipsey

My practice began in starts and stops. In the winter of 2000 while attending culinary school, I decided one day to purchase acrylic paints, brushes, and canvases and see what happened. I played in the medium for a month or so before moving onto another creative outlet. Being a chef for the following 15 years didn’t leave much time for a hobby but acrylics would sneak back in for a couple weeks at a time throughout that period.

I began exploring two divergent paths in the summer of 2015. On one I found grace and strength; women demanding to be seen, giving pause to those who passed. They have power beyond the canvas. they delve into our being and reflect what we want to see in ourselves. This path is inspiring as an artist. These women are apart from me but they influence who I am. They take me to the realm of realistic fantasy; beyond my normal but not outside of my reach.

The other path is much more reflective. The abstracts are pieces of myself coming out into the world. These are an intuitive release that I only come to recognize upon completion of the work. My abstract pieces allow me to travel deeper into my beliefs and my thoughts. One canvas is composed of a hundred thoughts thereby becoming a novel to be read and reread. They are as varied as my thoughts but collections slowly reveal themselves the longer I participate in their creation. I see these paintings as true reflections of who I am as an artist; a constant balancing game between light and dark, heavy intentional strokes and arbitrary spots, there is movement and action.

The deeper my practice the more I realize that those two paths reference and connect in ways I could not have seen. The freedom of exploring creativity only connects me more soundly to my path of self awareness and the two paths converge to both broaden and concentrate my work.

I began to sell professionally in the fall of 2015 and painting became my full time vocation in the summer of 2016.

My studio is in my home in Saint Lambert, Quebec.

Instagram – @pistache_and_rose
Twitter – @mlipseyart

 
 
 

The Journey and the Conversation

by Jenny Schultz

Four years ago I was living a great life as an artist, mom, wife and fun, energetic friend. My art was just gaining ground and was featured in several galleries across the southeast. My painting style was happy, bright and colorful. Then I was diagnosed with late stage, neurological Lyme disease.

Joyous creation was essential to my psyche pre-illness, and work would really just evolve on my easel. The action of painting and interacting with the canvas and mediums truly made me happy. Angst did not figure into my work. I just never experienced it. This showed in the end result.

I could no longer feel those joyful emotions after the illnesses took hold. The ease of creation was lost to me. My actual vision and depth perception had changed. Hand tremors made the actual movement of representational painting difficult. I could no longer see or feel or experience the synergy that was once there.

My Lyme Doctor is located in New York, which gave me the opportunity to finally visit the various museums that I had always dreamed about. I would schedule time after each appointment to sit and soak in the work of the art masters.

I became obsessed with the mid century modernists. Pollack, de Kooning, Hoffman, Klein, Krasner, Freud, and Klee all spoke to me. I understood what they were saying but try as I might, I couldn’t make the jump from my happy, Impressionism to a dialogue via abstraction.

Finally, after four years of healing, I was able to start that conversation with my art. I understood what I needed to say. After four years of fighting to get my brain back, I sure had a lot to say. I began, slowly, to rebuild my life and my art career, with the help of many doctors, friends and two amazing gallery owners.

I actually write about my journey onto my canvas. I write about love and frustrations and the joy of being alive. I then use paint to communicate more, either over or under my words. I sand and scrape and carve, depending on the emotions and thoughts that are trying to reach the canvas. Some days the creation comes easily and I feel the past peek through a bit. Other days, more frequently than not, the bacteria in my body take charge and I have to wait for the healing to happen again.

 

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SONY DSC

SONY DSC

SONY DSC

SONY DSC

 

jenny-schultz-bio-photo

 

Artist: Jenny Schultz

Website: http://jennyschultz.com/

Email: jennyschultz1121@gmail.com

 

 

 

 

Mourning Light

by Holly Friesen

An exhibition of recent paintings by Holly Friesen
Les Mots Tremblant, Friday, Dec 16, 5 to 7 pm

The transformation of the heart is a wondrous thing, no matter how you arrive there. ~Patti Smith

This exhibition is dedicated to Walt Pascoe, the love of my life, whose passing from the earth on the solstice of last year has been mourned in the sweetest light possible. The only way my heart could survive this loss was to paint my way through it. After having mourned his absence for a full year I find his presence in everything I see and touch.

I recently attended a month long artist residency program at the Vermont Studio Centre in Johnson, Vermont. This was a transformative experience. I was able to paint day and night in a gorgeous studio without interruptions or distractions. Meals were provided and the interaction with the 50 other attending writers and visual artists was inspiring and stimulating. The first thing I painted was “Good-Bye Kiss”. The reference photo I painted from was taken by a close photographer friend of mine who passed away three months after Walt. This painting allowed me to process a lot of sadness for the loss of both these dear souls. Once this painting was complete I felt released and lighter as though the studio had been blessed with a newfound radiance that was filled with love and gratitude.

 

holly friesen-good-bye kiss

 

To live in this world

you must be able
to do three things:
to love what is mortal;
to hold it

against your bones knowing
your own life depends on it;
and, when the time comes to let it
go,
to let it go.

~ Mary Oliver

I unrolled some large swaths of canvas from a roll that had belonged to Walt, stapled them to the wall and started to paint light filled landscapes of colour and joy. These paintings came bursting forth with a gratitude for life so large it was almost hard to contain it.

 

Unbound Joy / 84" X 70"

Unbound Joy / 84″ X 70″

Mysteries Too Marvellous to be Understood / 72" X 60"

Mysteries Too Marvellous to be Understood / 72″ X 60″

 

I intend to exhibit these pieces un-stretched and unframed, just as they were in the studio. I love the raw edges that seem to extend the painting into the room and allow their energy to spill out into the space around them. I want the viewer to experience the painting  as an expansive invitation to enter the painting with their own heart.

 

holly-friesen-paintings

 

Next I felt as though I was between stories, a liminal space. A story of presence and absence co-existing in one space. A tension filled existence of opposites; movement and stillness, light and dark, colour and neutrality. A space full of potential yet oddly empty. It was at this time I came across a photograph by friend and colleague Melissa Johnston I couldn’t stop thinking about it. I rarely paint from another person’s imagery as I find “image gathering” to be very personal but this one just wouldn’t stop
calling out to me. I contacted Melissa and she very generously gave me permission to use her sublime photo as reference for a painting. “Liminal Space” is the resulting painting and I am grateful for Melissa’s vision that resonated with my own at that moment in time and space.

 

Liminal Space / 36" X 48"

Liminal Space / 36″ X 48″

 

Then came a more subdued palette as I started on a new series of paintings. These works were more modest in size and inspired by a series of photos and memories from a 5 a.m. September morning paddle on Pink Pond in the Adirondacks. As my photographer friend and I waited for the fog to lift we were rewarded with some of the most sublime glimpses  of landscape revealed at whim from behind a shifting veil of mist. This ambiguous vision of the the horizon appearing and disappearing was poetic and dreamlike.

 

Infinite Possibilities / 48" X 36"

Infinite Possibilities / 48″ X 36″

Pink Pond #1 / 12" X 12"

Pink Pond #1 / 12″ X 12″

Morning Offering / 12" X 12"

Morning Offering / 12″ X 12″

Pink Pond #4 / 12" X 12"

Pink Pond #4 / 12″ X 12″

 

The following paintings are several that I have selected from this past year of searching, exploring and reaffirming the interconnectedness of our inner and outer landscapes. The present moment seems to intersect with the past and the future and linear time dissolves into a web of moments.

 

The Present Moment Becomes Long Ago / 24" X 48"

The Present Moment Becomes Long Ago / 24″ X 48″

Dark Water Cove / 24" X 48"

Dark Water Cove / 24″ X 48″

Field Flow

Field Flow

 

My painting practice continues as a form of deep prayer which reconnects me to that which is vital in this life and beyond. Painting teaches me what I need to learn. Like breath, painting has become intuitive and essential to my own survival. I am humbled and awed by this invitation to participate in the Great Mystery through moments of numinous beauty that I am gifted with on a daily basis.

 

Un Peu Perdu dans les Nuages / 16" X 20"

Un Peu Perdu dans les Nuages / 16″ X 20″

When Warmth Fell from the Sky / 24" X 30"

When Warmth Fell from the Sky / 24″ X 30″

Landscape in Motion / 36" X 48"

Landscape in Motion / 36″ X 48″

Yellow Pool of Light / 36" X 48"

Yellow Pool of Light / 36″ X 48″

 

 

holly-friesen-bio-picArtist: Holly Friesen

www.hollyfriesen.com

hollyfriesen@gmail.com

Holly Friesen was born in Saskatchewan, studied Visual Arts at John Abbott College in Montreal and painting at York University in Toronto. After many years of travel and study she settled in Mont-Tremblant, QC and opened ArtBeat Studio where she painted and taught for 15 years. Four summer seasons saw Holly as artistic director and curator of The Art Barn in Mont-Tremblant. In 2010 she was curator and project manager of Ateliers du Village, an artist run gallery in Mont-Tremblant village.  From 2012-13 she worked as the Montreal curator for an online art auction ArtBomb. The artist’s studio is currently based out of Montreal QC where she also works as artistic director and curator of E.K. Voland Art Gallery. Her paintings are collected internationally and part of both corporate and private collections. Holly’s passion is painting vibrant landscapes from the inside out while collaborating with other artists to make art more visible in our everyday world.

Artist Statement:  My work revolves around earth-honoring images that reflect and instill connection to local bio-regions. These images internalize a reverence for the earth and shift the intent from harming the world to living in a mutually life enhancing manner. I learn what I need to know by painting. The more I paint the less separation there is between inner and outer worlds. For me, painting is like deep prayer awakening an inner wilderness that reflects the earth’s landscape; the image is in you and you are in the image. Painting is my breath, beauty my compass and the earth is my body.

Facebook: https://www.facebook.com/HollyFriesenArtist/?pnref=lhc

Instagram: https://www.instagram.com/hollyfriesenart/

Twitter: https://twitter.com/Holly59

Online Portfolio: https://www.artworkarchive.com/artwork/holly-friesen

 

Selections from “Put Your Hands Where My Eyes Can See”

by Charles Williams

CONFRONTATION III - JULY 17, 2014 - 48"X48"- Oil on Panel

CONFRONTATION III – JULY 17, 2014 – 48″X48″- Oil on Panel

CHOKEHOLD - Harlem, July 1964 - 22"x30" - Oil on Watercolor Paper

CHOKEHOLD – Harlem, July 1964 – 22″x30″ – Oil on Watercolor Paper

NIGHTSTICK - Harlem, July 1964 - 22"x30" - Oil on Watercolor Paper

NIGHTSTICK – Harlem, July 1964 – 22″x30″ – Oil on Watercolor Paper

RIOTER - Watts, August 13, 1965 - 22"x30" - Oil on Watercolor Paper

RIOTER – Watts, August 13, 1965 – 22″x30″ – Oil on Watercolor Paper

KID WITH LUCY - Newark, July 1967 - 22"x30" - Oil on Watercolor Paper

KID WITH LUCY – Newark, July 1967 – 22″x30″ – Oil on Watercolor Paper

 

“Put Your Hands Where My Eyes Can See” is showing at Winthrop University in Rock Hill, SC from September 19-November 11, 2017. There is an artist talk and gallery walk-through Thursday, October 20 at 7:00. Info here.

More of his work can be seen in the exhibition “BLACK on BLACK,” which runs from October 7-27, 2017 at VAE Raleigh.

 

charles-williams-todd_turner_photography-5-2Charles Williams is a professional contemporary realist painter from Georgetown, South Carolina and a graduate of the Savannah College of Art and Design (SCAD) in Savannah, Georgia with a Bachelors Degree in Fine Art. From utilizing oils for the basis of landscapes, each painting captures his reflection of human emotions in response to and in sync with the natural environment. Recent achievements and awards include a Hudson River Landscape Fellowship, featured work in the Artists Magazines 28th Annual Art Competition, honorable mention from Southwest Art Magazines 21 Emerging Under 31 competition, 2012 Winner of the Fine Art Category from Creative Quarterly and featured cover artist of Composite and Professional Artist Magazine. Williams’ works has been shown in American Art Collector, Empty, Charleston Magazine, Grand Strand, Studio Visit, Bluecanvas and other national publications. He was recently interviewed and broadcast on ETV/ NPR station, entitled: Nature Through the Eyes of an Artist. His contemporary landscapes have been exhibited in group and solo exhibitions in galleries in New York, Vermont, California, Georgia, South Carolina and several other southeastern states.

Website: cewpaintings.com
Blog: cewpaintings.blogspot.com

 

 

Dialogue with myself

by Melinda Matyas

The red curvature (dyptich)

The red curvature (dyptich)

Seven days (dyptich)

Seven days (dyptich)

Hope, the thing with feathers

Hope, the thing with feathers

I’am going to be a pilot

I’am going to be a pilot

The Silence of Animals

The silence of animals

6 Melinda Matyas Mama, I’m coming home

Mama, I’m coming home

The wind blows where it pleases

The wind blows where it pleases

 Lorelei

Lorelei

Stopping by woods on a snowy evening

Stopping by woods on a snowy evening

And the walls were restless under chalk drawings

And the walls were restless under chalk drawings

I’ve been here before (dialogue with myself)

I’ve been here before (dialogue with myself)

 

Melinda MatyasArtist: Melinda Matyas

My artistic preoccupation is mostly based on existential explorations of the human condition. Very much interested in the intensity of sensation experienced from the subject’s presence, I’m looking beyond the body, discovering that beyond our well-lived triviality in each individual the spirit is made flesh, under its surface in each one the whole creation breathes. Though the starting point is always personal, emerging out of my obsessions and the emotional intensity which flows through myself and through people living around me, this intensely personal content of the work invites a reciprocal identification on the part of the viewer.

http://melindamatyas.com

https://www.facebook.com/MelindaMatyasPaintings/

https://www.instagram.com/melinda_matyas/

 

The Figure as Metaphor

by Tom Bennett

Barely Resolved Inoffensive Nude, oil on canvas, 2016

Barely Resolved Inoffensive Nude, oil on canvas, 2016

Fatigue 4, oil on paper, 2016, 16" x 22"

Fatigue 4, oil on paper, 2016, 16″ x 22″

Fatigue, oil on paper, 2016, 12" x 9"

Fatigue, oil on paper, 2016, 12″ x 9″

Fatigue 2, oil on paper, 2016, 20" x 16"

Fatigue 2, oil on paper, 2016, 20″ x 16″

Fatigue 3, oil on paper, 2016, 16" X 20'

Fatigue 3, oil on paper, 2016, 16″ X 20′

In the Hold, oil on paper, 2012, 18" x 9"

In the Hold, oil on paper, 2012, 18″ x 9″

Muddy Company, oil on paper, 2012, 16" x 20"

Muddy Company, oil on paper, 2012, 16″ x 20″

Quiet, oil on paper, oil on paper, 2015, 19.5" x 27"

Quiet, oil on paper, oil on paper, 2015, 19.5″ x 27″

Mannered Nude, oil on paper, 2015, 9" x 24"

Mannered Nude, oil on paper, 2015, 9″ x 24″

Memory Loss, oil on paper, 18" x 14"

Memory Loss, oil on paper, 18″ x 14″

Sleepwalk Redux 2, monotype, 12" x 12"

Sleepwalk Redux 2, monotype, 12″ x 12″

Sleepwalk Redux 17, monotype, 12" x 12"

Sleepwalk Redux 17, monotype, 12″ x 12″

Sleepwalk Redux 24, monotype, 12" x 12"

Sleepwalk Redux 24, monotype, 12″ x 12″

Witch 18, monotype, 2016, 12" x 12''

Witch 18, monotype, 2016, 12″ x 12”

Witch 21, monotype, 2016, 12" X 12"

Witch 21, monotype, 2016, 12″ X 12″

These Things don't Mean Anything, 2012, 18" x 9"

These Things don’t Mean Anything, 2012, 18″ x 9″

 

Tom Bennett-me at silvermineArtist: Tom Bennett

Tom Bennett, born in Ridgefield, Connecticut, grew up in a household of artists and was influenced by his father, Harry Bennett, an award-winning painter and illustrator. His father’s version of Dante’s Divine Comedy was seminal in shaping Bennett’s early aesthetic.  He grew up spending much of his time experimenting with a wide range of art mediums, but particularly, drawing.

He received a Bachelor of Fine Arts in Painting at the University of Connecticut in 1982 where he worked under the noted  painter and photographer, Bill Parker. He also studied design and color under the award-winning Paul Zelanski.

Tom had his first one-man show at the Ridgefield Guild of Artist Gallery in 1983, and a few months later moved to New York City to further pursue his painting.

In 1985 Tom spent seven months traveling alone through Western and Eastern Europe— into Hungary, East Germany and Yugoslavia—and Africa, sketching while traveling and absorbing new stimuli. His visits to sites like Dauchau and occupied East Germany left him with renewed connection to an inchoate subconscious iconography.

Subsequently, travelling into northern African countries like Morocco & Algeria provided fresh, non-western- centric experiences that ultimately had a subtle, yet profound impact on his art making.

He returned to Spain and resided in Barcelona. Tom lived on the Spanish Mediterranean coast painting, where he exhibited locally in solo and group shows. Eventually he returned to New York and moved to Brooklyn, where he has resided ever since.

 

http://www.saatchiart.com/tombennett
https://www.facebook.com/tombennettart/
https://www.facebook.com/tom.bennett.165470/media_set?set=a.124389307155.101484.660327155&type=3
https://www.flickr.com/photos/tom-bennett/
https://twitter.com/TommyBennett
http://tombennett.tumblr.com/

 

 

 

 

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/

 

Humbled Artist

by Fei Alexander

Dance With The Wind White Color

Dance With The Wind

Paradise Of Holy Sakyamuni

Paradise Of Holy Sakyamuni

Monalisa

Monalisa

Silent volcano

Silent volcano

The Buddha

The Buddha

last supper 2

last supper

Memory Layers

Memory Layers

mirror

mirror

Red Echo

Red Echo

Love

Love

nervously relaxing

nervously relaxing

Red impression

Red impression

CONFUSED

CONFUSED

Freedom

Freedom

A Bird's Chinese Vision

A Bird’s Chinese Vision

 

Artist: Fei Alexander

Fei AlexanderAbout Fei:

from an Article in the “SOUTH BAY PEOPLE” magazine- issue 1, Pg10-11, April 2004
“Easy Reader” newspaper- issue June 24th, 2004 at the ‘Easy Weekend’ section Pg 41/ Pg 47
—- By Art Editor & Journalist Bondo Wyszpolski of the “EASY READER” newspaper & “South Bay People” magazine

The hardest part is facing the blank canvas… But those two or three hours staring at the bare surface are not wasted. The visualizing is a necessary part of the process, and during these moments of seeming inactivity Alexander is contemplating what forms to use, where they’ll go, and what colors or color scheme she’ll employ. The painting is then painted quickly. Except for the details, the piece is completed in less time than she spent working it out in her mind. It is a luxury to be able to paint in this manner…

Alexander does not limit herself to one style of painting, With some artists, it’s clear that everything they create resembles or seems a variation of their other work. But if one looks at Alexander’s work it seems, at first glance, to be a collection of pictures by a variety of artists. Without actually seeing these works, some people might assume that Alexander hasn’t yet found her true calling. What seems closer to the truth is that this artist is brimming with all kind of ideas and is not afraid to explore them.

For instance, about three years ago Alexander began experimenting with the canvas itself, breaking out of the conventional square of rectangular format and coming up with pictures that, physically, had rounded or curved edges. Other canvases she separated, and then realigned or over-lapped their segments. For this writer, there is an organic sense that emerges, as if the picture is liberated out of its usual confines- and more free, too, to actively engage the viewer. For Alexander, this experimenting is a part of her notion that ‘ the fading, the dust, the peeling of a painting as time passes are all supposed to belong to the life of a painting, just like our own lives.’ Suddenly, the frame- as a protective and a decrative [sic] device- is no longer so relevant.

Over the last year or so, Alexander has taken used frames and attached burlap to the back, which hangs down well below the bottom of the frame. Often, the burlap is then braided. This is a feature that again complements or plays against the canvas, but Alexander emphasizes that the focus is still painting as painting, not painting as craft. The current work outwardly, but much of it combines modern painting technique with traditional Asian spirituality. Her intention, as she said is to invite viewers to take time to glance at their inner soul, sensibility and thought. In other words, the quiet look within may lead to self-discovery. Alexander believes that art fuels living energy, that it comes from life and reflects life. She feels, also, that although artists have the creative ability to express their emotions from different angles, they need to work hard and be willing to risk more than the usual person does when they confront and engage their inner selves. The gains may be minimal, and sometimes can scarcely be measured but the reward is in the attempt to do the best. With what is available within.

Through her painting, Fei Alexander expresses vision and heritage, the physical form and its spiritual emanation.

Website: http://fineartamerica.com/profiles/fei-alexander.html

 

Vibrant Textures: The Paintings of Michael Creese

by Michael Creese

Bison Skull

Bison Skull

Himalayan Cat

Himalayan Cat

Horse

Horse

Hummingbird

Hummingbird

Panda Reflections

Panda Reflections

Panda Stars

Panda Stars

Starfish

Starfish

Tancho Koi Fish

Tancho Koi Fish

 

Michael CreeseArtist: Michael Creese

Michael Creese was born in Chicago, Illinois, and moved to Pittsburgh, Pennsylvania with his family at the age of seven. While in school, he developed a keen interest in art and drawing, and was greatly encouraged by his high school art teachers to pursue his passions. Michael’s interest in drawing quickly progressed to a fascination with painting.

After being accepted at several different universities, including the Pratt Institute of New York, Michael began his formal art training at Carnegie Mellon University, in Pittsburgh, where in 1981 he earned a Bachelor of Fine Arts degree.

Michael paints in the oil impasto style, a technique used in art where paint is laid thickly on canvas, leaving visible brush (or palette knife) strokes. When dry, impasto provides a great deal of texture to the finished painting. He also works with several other mediums in addition to oils, most notably watercolors.

Michael’s work has been sold in print form by major art distributors and retailers, featured in the work of interior designers, and sold as ceramic and marble tile murals. His original oil on canvas paintings are purchased by collectors throughout the United States, as well as internationally. He is currently a member of the National Oil and Acrylic Painters’ Society.

 

Artist Statement

As an artist I find myself constantly aware of my surroundings. Each subject that catches my attention, from the smallest of flowers to the brightest of sunsets, gets recorded and eventually ends up on a canvas in my studio.

I feel very lucky to have a talent to share with others, and I feel deeply connected with nature through the process of painting.

Over the years I have tried my hand at many different art materials and many different subjects, but I have always found myself back at the easel with oils on the palette. Oil paints are a true delight to work with and they seem to express themselves effortlessly, as if on their own!

My particular style of painting is a culmination of my fine art training, my fondness for the Impressionist and Expressionist art movements, and my personal artistic vision. Color and composition are two key elements to my creative process, but the application of paint is perhaps the single most important factor in defining my style, from loose brush strokes and rich texture to an almost frenzied use of palette knife marks. The colors that I use are frequently blended directly on the painting, adding liveliness through visibly distinct transitions in color and shade. I have been told that one of the nicest features of my style, even though it is representational, is its abstract quality. This is one aspect of painting that I truly enjoy and one that I have worked hard to preserve. But apart from all the explanations of technique or style, I think that you will find as I have that art is mostly a mystery … so much more than the sum of its parts.

Website: http://michaelcreese.com/

 

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