Kerrie Warren- Expressionism Through Paint

June 26, 2011 By 5 Comments

Expressionism is not your typical style of painting.  It allows the artist to do whatever they wish, without boundaries or limits.  There is no right or wrong to their work, just pure passion on canvas.

Some people see it as a variety of colors and nothing more, while others see something more defined and intense.  Either way, the work is awe-inspiring!

Today, the Expressionist Magazine sits down with Kerrie Warren, an Expressionist painter we found in Australia.  She’s halfway around the world, yet her work connects us all.

1. Tell us a little about yourself- where you are from, are you married, etc. (bio.)

I was born in Melbourne in 1968 and lived a ‘gypsy’ type lifestyle with my younger brother and sister, regularly moving from place to place.  My parents had grand ambitions and fresh ideas with each move so I remember it was always exciting to pack up, but emotionally torturous walking into the next ‘new school’.

To date, I’ve moved 34 times (including caravans) but like a tree I’ve grown roots here in Crossover (Victoria, Australia) with my husband Chris, two beautiful dogs, Garth and Tess, and an old horse named Billy.

I’m a country girl at heart and experienced living on a number of large properties as a child, so I’m completely at home here surrounded by green pasture, rolling hills, dairy cattle and wild birds (paradise for an artist / hermit).  I’ve been here for ten years now and my studio is an old (renovated) dairy.

2. At what age did you start painting, and what got you interested?

From a very young age I loved drawing and writing poetry.  I didn’t have access to paint and brushes, probably due to moving about so much (and pencils were quick to pack up).  My father and both grandfathers enjoyed drawing and I can remember myself and my brother Rodney spending hours upon hours drawing whenever we got a chance.  Mum would often surprise us with a new Derwent pencil and I’ll never forget how exciting it was to smell the wood and admire the fresh color!

But poetry was my pure expression of self.  If I ever felt ‘lost’ or ‘anxious’ (common feelings in those days), I would completely loose myself in the rhythmic words.  The sensation was so profound. From a very early age I was able to tap into ‘me within’, to ‘the source’, and my worries seemed insignificant and I would be at peace again for a short period.  Even reading my poetry late at night helped keep me sane (art therapy).

It wasn’t until years later I learned that poetry is ‘abstract’; it all started to fit into place like a jigsaw puzzle.

I left school to work when I was sixteen, following in my parents’ footsteps and working in a variety of fields hoping that something would ‘fit’. I wound up working in regional television and producing, which I enjoyed to some extent, but still found myself sitting in the car during my lunch breaks madly writing poetry.  I had a mid-life crisis at twenty-five, which was the best thing that ever happened.  I sold my car and enrolled to get my Diploma of Art in Ceramics (I had never touched clay before).

My whole being yearned to create and I allowed myself to be guided by instinct.  These studies also included formal drawing classes and I had taken on additional painting classes too.  The whole world seemed to open up before me and I fell in love with life itself.  I discovered in those years that the raw materials have a life of their own and instead of manipulating them, I would work with them and allow them to take me on a journey within (like poetry did).

I became more and more intrigued by the process itself and continued on to complete my Diploma of Transpersonal Art Therapy in Melbourne where my mind was opened up to ‘working in the moment’ to ‘abstract expressionism’ !

3. Tell us a little about the part of Australia where you currently reside.

I live in Crossover (West Gippsland), Victoria, Australia.  It is approximately 1.5 hours from our capital city, Melbourne.  http://www.westgippsland.com.au/

4. How would you describe Abstract Expressionism to those who may not be familiar with the art   form?

For those unfamiliar with this style of work it would be best to break it down first and look at the word, abstract, which means to not represent or imitate external reality. (Non-representational)

Expressionism represents the ability to express emotional experience rather than impressions of the external world.

‘Abstract Expressionism’ is also known as ‘Action Painting’.  My work is furiously energetic; a free and spontaneous application of paint which allows the release of pure creativity of the unconscious mind.

‘Spontaneous’ doesn’t necessarily mean ‘quick’ and certainly doesn’t mean ‘out of control.’  It’s about stepping into spontaneous itself and being ‘in flow;’ to be at one with the canvas and clear of mind in order to work in that zone and be taken on a journey within.  I’m greatly influenced by my environment and what is occurring in my life at the time.  When the paint dries and I become the viewer, it’s obvious to me that my work is a visual diary of events.

This process is more akin to tuning in a musical instrument than it is to a traditional painting style and I work with rhythm, balance, vibrancy and pitch (in a visual sense) to a point of resonation.  I work with the force of gravity and the thrust of energy; the physical movement in those moments is recorded on canvas in paint.  I walk out of my studio at the end of the day feeling like I’ve been hit by a truck, though the process itself is a spiritual comfort and quite addictive.

5. Who, or what, inspires you?

‘Life’ inspires me.  I’m absolutely fascinated by the miracle of life on Earth.  I’m fascinated by the Universe and what might be on the other side of it.  I’m intrigued by life after death, by God and by the power of Mother Nature and why I might be here, in other words, ‘my purpose’.

I feel that I’m close to knowing something more, to seeing something more, to understanding something else when I’m in the process of creating.  It ‘feels like that’ to me and it is this sensation that draws me back into the studio day after day.

I feel more like a mad scientist than an artist most of the time and yet I have no answers. I don’t experience ‘creative blocks’; I simply make a start and then seem to be following a thread.  It’s excitably tormenting!

I became in-tune with this process during my studies in Transpersonal Art Therapy where I experienced working on the floor, working within the moment and often during meditation or after chanting and drumming sessions.

It was after this period when I first heard ‘the Pollock comments’ (often sarcastic) and I became curious.

I started researching and learning more about this Jackson Pollock.  I was intrigued to learn that, he too, had lived a gypsy type life as a child and had experienced Shamanism (as I did during my Transpersonal Art Therapy studies).

Over time I’ve become more and more fascinated by, energized by, and absolutely inspired and excited by his work.  Even though we are separated by lifetimes and continents, I feel a very powerful and personal connection that I honor and cherish.

6. Do you have any mentors?

I have a number of mentors including my mother (and artist) Judi Money and husband Chris Major who both offer understanding, encouragement, and belief in me and my work.

I’ve formed lifelong friendships with a number of my surrounding colleagues and time after time we have mentored each other and emotionally supported each other through the various cycles of living an artist’s life.

I do, however, experience moments in my career when I feel quite alone and I’m not sure of the next step (not inside the studio, but outside) and ‘self managing’ my career.  Each step is a new one to me.

7. What are your goals, dreams?

To be approached by a ‘Peggy Guggenheim’ who will be absolutely taken by my work, believe in my work and manage my career!

I would also love to create historically significant (and very large scale) works to be hung in and collected by state galleries and museums around the world.

To be known as Australia’s great ‘Action Painter’ on a global scale.

To discover what’s on the other side of the universe through my work (I don’t ask for much).

8. Where can we view your work currently?

I currently have work exhibiting in the Red Sea Gallery, Brisbane (Queensland), Australia and am in the process of organizing my up and coming solo show in Melbourne (details soon) where I will also launch my new design label ‘Kerrie Warren Designs’ inspired by the Guggenheim.

Until I exhibit again in New York, you can view my work on-line at www.kerriewarren.com.au

and my studio is always open by appointment if you happen to be close by.


9. Tell us about your favorite piece, if you have one.

Each piece is significant because it links to the previous and the following much like a chain of events, but I’m always most excited about the piece on the floor!

10. What does painting do for you on an emotional level?

Painting emotionally stabilizes me and provides a spiritual comfort; it allows the release of pure creativity of the unconscious mind.

11. How much time do you spend working on each piece of art?

I tend to work furiously over a 1 – 2 day period and then continue in a more subtle sense while the paint is drying (tuning it in), which is generally over the course of a week depending on the weather.

I enjoy building my own stretchers and bonding with the canvas itself before I launch into it.  It’s like ‘warming up’ first.

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Harry Sonntag: Key Largos Hermit Artist

September 19, 2010 By Leave a Comment

In 1992 an amazing discovery surfaced in Central Florida; a discovery that almost wasn’t. It came when a man by the name of Chuck Faulkner was introduced to a bag of art, salvaged from a storage unit before the place was demolished.

Inside this bag, Faulkner found stacks of paintings, newspaper clippings, and photographs from an artist named Harry Sonntag. The stack of pictures is a trove of Florida history, in a time when most of the state was completely barren. Faulkner’s research on the life of Harry Sonntag, combined with his art, tells a tale of Florida’s past; a story almost lost forever.

Harry Sonntag was a lifelong artist. He started his career in New York, eventually opening his own gallery. New York is a great place for an artist, but Sonntag craved individuality with his art. He didn’t want other artists to copy his style and ideas, thus in 1949 he moved to the Florida Keys where he would assume the life of a “hermit artist.” It was during this time that he began depicting life in Key Largo in his art.

Before he moved to Key Largo, a small misfortune struck Sonntag when his studio burned to the ground. He claimed that all his works of art burned in the fire, so Key Largo was going to be a great new start for Sonntag.

In Key Largo, Sonntag opened the Key Largo Art Gallery. This gallery was right off the main road leading to Key West; a great place for vacationers to stop and see his work. The ironic part was that his gallery was an abandoned structure, dilapidated with a roof full of holes. Structurally, one would wonder how the place remained standing. Sonntag didn’t care. He covered the roof up with tarps and hung his work with pride; ironically, the looks of the gallery didn’t deter the rich and famous from perusing the gallery.

From 1950 to 1957, the Key Largo Art Gallery’s walls donned pictures painted by Sonntag, which depicted life in Key Largo during that time. During the 1950s, cameras weren’t readily available; so many locals didn’t carry or own one. Sonntag’s pictures were the only real documentation of Key Largo during this period of time, because of this; Sonntag is considered Key Largo’s first resident artist and quite possibly, historian.

In 1957, another tragic twist of fate struck Sonntag, as his gallery once again burned to the ground. The Key Largo Art Gallery was no more, and with it, according to Sonntag’s statement to the Miami Herald, all his works of art.

Since his gallery was destroyed and nothing was keeping him in South Florida, Sonntag would leave the United States and take residence in St. Thomas, the Virgin Islands. Sonntag would continue his art, depicting life in St. Thomas until 1960 when his father became deathly ill. Sonntag returned to St. Petersburg, Florida to be by his father’s side leaving everything behind.

THE DISCOVERY

In 1960, a couple staying in the room house that Sonntag once inhabited, found a bag full of pictures underneath the bed. The couple took the pictures to the room house’s front office, where they said the couple could keep the art.

That couple returned to Florida, and stored the pieces of art in their storage unit in Central Florida where they would remain in a non-climate controlled environment for 32 years.

In 1992, Chuck Faulkner gained possession of the pieces and realized how valuable they were. The bag contained 175 pieces of art. Ironically, it contained pieces of art from when Sonntag lived in New York and Key Largo that supposedly were destroyed in the fires. It also contained his latest works of art from when he lived in St. Thomas. Strangely, only seven of these original pictures are signed.

Wanting to know more about Florida’s “hermit artist,” Faulkner asked locals who may have known Sonntag, about his life and gallery. What he got was some amazing stories about how Sonntag lived from former visitors of the gallery and personal acquaintances.

Faulkner managed to even reach out to Sonntag’s school in New York, obtaining his transcripts, his birth and death certificate as well.

Faulkner is dedicated to his find and wants now to sell the collection and all his knowledge of Sonntag to a collector who will cherish it as he does. He doesn’t want it split up because he feels it’s just not the right thing to do. He hopes the next owner will find a way to get this collection on display somewhere in Key Largo, returning the art work to its home, allowing locals to see what life was like back in the mid-20th century.

Faulkner has created a website dedicated to the collection, and information about Sonntag which can be found at www.harrysonntag.com

About Sonntag

When Sonntag moved to Key Largo, he earned the title “hermit artist.” Sonntag lived in a self-built shack behind his decrepit Key Largo Art Gallery.

For food, Sonntag would spear fish in the water behind his gallery. He grew all his own vegetables and anything else he needed to eat.

When he needed supplies or food he just couldn’t grow or catch himself, Sonntag would hitch hike up to Miami where he would purchase the goods.

Sonntag’s hermit life personifies the artist spirit. He had nothing, but was a very happy and content man. In today’s standard, and maybe even by standards back then, he would be considered strange, maybe even an outcast; to Sonntag this way of life was exactly what he wanted.

In 1960, Sonntag would return from St. Thomas in the Virgin Islands, to care for his sick father. His dad would eventually pass away in St. Petersburg, Florida that year. Sonntag would move no more, calling St. Petersburg his home until his death in 1990, just two years shy of his artwork being discovered back in Florida.

As far as we know, he didn’t create any more art while living on Florida’s west coast. Maybe he wanted it that way, maybe he knew his work would be discovered in that room house, setting up his own legacy with the tale that his work was destroyed in the fire. Did Sonntag know that his work would make someone rich, by discovering it and appreciating it enough to take care of it? The story is eerily similar to “Willie Wonka and the Chocolate Factory,” where Willie Wonka wants to pass down the factory to a stranger who cares about his work. We may never know, but what a story to tell.

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Fly Like An Eagle – John Audubon

July 31, 2009 By 2 Comments

150px-JJAudubonBird watching has always been a hobby or activity humans have partaken in since the earliest of times, to sit back and enjoy natures wonders and beauty and also to relax from the everyday stress.  Birds are one animal that has no boundaries; for instance they can walk on land, swim and fly.  Birds are not bound to the limits we as humans have put on ourselves, unjustly; they are free to fly and explore the world from above.  When birds fly, they look down and see land and mountains and water; they don’t see state lines.  That’s something we as humans have tried to replicate and why we find the grace and beauty of a bird so mezmerizing and relaxing. 

For one man, this thinking turned out to be something he never dreamed of and would never see the full results of his labor; but his work lives on today and stands as the most revered art of birds in catalog form ever. 

John Audubon

In April 1785, a man born of French-American blood would forever change birding as we know it, his work would set the world standard of birding and the art of aviary drawings.  That man is none other than John James Audubon.

John-James-Audubon-Snowy-Heron-10079Like most people in the early 1780s he grew up in a humble environment, his father was a French naval officer and privateer, his mom, a chambermaid from Louisiana.  He was born in St. Domigue, Haiti, which is now known as Les Cayes.  He was an illegitimate child of his father, which upon the death of his mom, his father took John and his sister back to France after being imprisoned by the British during the American Revolution.

In 1789, Jean adopted John and named him Jean-Jacques Fougère Audubon.  In 1803 at the age of 18, Jean-Jacques boarded an immigrant ship to the new United States Of America, and changed his name to John.  Despite the new life he would have, his father sent him here to avoid the Napoleonic Wars, and obtained a false passport to get him here.  Upon arrival in New York, John caught yellow fever and was quarrantined.  His start in America was already on a bad foot, but John would make wine out of the grapes he was given.

John moved to his father’s sugar plantation just a few miles of Valley Forge, which he considered paradise.  It was there that he honed in the love he had for hunting, fishing and birds.   He set out to study birds in more detail, and use his artistic genius to capture a more realistic portrayal of these species he studies, than other artists have in the past. 

The Legacy

John was a master artist, he would set out across the United States studying birds in their natural habitat. 

He would carry around this portfolio which contained his amazing photos.  He would then name and catalog each species in this sketch pad.  His portraits of these species were amazingly lifelike and portrayed the life and unconfined spirit of each bird.

John-James-Audubon-Roseate-Spoonbill-10078His work captivated people for years to come, they grew more and more interested in birds, and bird watching.  His prints were not worth much financially while he was alive, but in death, his prints became very valuable.  Today his art can be seen in reference books, museums, on decorative plates and kitchenware, and many other places.  If you happen to have an original drawing, you are sitting on a small fortune.

John’s drawings inspired so many people that the National Audubon Society was created in hopes to protect our natural wildlife from birds all the way across the board.  They wanted to preserve the habitat to look just like his drawings and keep this great planet the same way it was then, for generations to come.

The Audubon Society today has become more of an environmental activist group, fighting to keep our forests, preserve the wildlife and speak on behalf of the habitat which can’t speak for itself.  They have chapters in every single state of the country, and some world wide.  It’s a wonderful organization with tons of bird watching and naturists from around the world, with one common interest, the love of nature.

If you would like to see some of John Audubon’s work, you can, just go to the National Audubon Society’s web site www.audubon.org/nas and there you will find a link to John’s amazing life like catalog of his work.

John Audubon died in 1851 but even 158 years later his work is still one of the most talked about in history. John’s art which inspires grew into an empire that still portrays his ideals and values keeping him alive today in spirit. When ever you see a bird or nature, there you will find John Audubon.

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The Lighthouse Collection – Alan Sundal

July 22, 2009 By 6 Comments

fOne of nature’s wonders are the vast seas, spanning across the globe, containing many different species of life from tame fish to the vicious great white sharks to the great blue whales.  The sea can put anyone in awe over its grandeur, but ask any sailor and you will see that the seas are not always kind; they have taken many a life with their great might.

That statement has been known to sea travelers for centuries, in fact, one of the worst places for a captain is near shore.  As they say, “Accidents tend to happen close to home or your destination.”  When ships would come into port, they don’t always know where the shallow water is, or where hazardous waters lie. To avoid such problems, man created the lighthouse. 

Lighthouses emit a beam of light that shines into the horizon warning sea captains that shore is near or dangerous waters lie ahead as you come to shore.  These nautical tools have saved many a boat and crew on their journey, while standing for security, peace of mind and are beautiful works of architectural art.

Since the late 1960s on, former US Navy seaman Alan Sundal has been painting the majestic sea and its marine life, taken from the experiences he saw at sea and from the pictures he took on his journeys across the world.  

If you remember The Expressionist Magazine featured Sundal last July, and since then, his work has been a consistent focal point in our magazine.  People want to know more, and therefore we feel it would be notable to feature this artist again, with the lighthouse collection by Alan Sundal.

gOver the years of 2003 to 2006 I had the esteem pleasure to work with this amazing artist one on one.  I got to see the vast library he has of the marine art he produced, and one collection caught my eye in particular-his lighthouses.  Sundal showed me all the photos he took over the years of these beacons that line our seacoasts including the Atlantic and Pacific Oceans, the Gulf Of Mexico and even the Great Lakes.  He told me about the many adventures he had at these lighthouses and how important they were to sailors.  It was only right to make a collection out of them.

Sundal showed me his lighthouse collection.  Do you know that he has every lighthouse on the coast of Florida, even some that don’t exist anymore.  Through intense research, he accurately marked the lighthouses with the original stripes and colors as they were first commissioned with.  Some over the years have changed, so if you see his work, it may not match simply because he took the lighthouse as it first looked.  Some of the more notable lighthouses in the collection include St. Augustine, Pensacola, the Dry Tortugas, Cape Canaveral, and every reef lighthouse off the Atlantic coast of Florida. 

If you don’t live in Florida, don’t worry, Sundal has every lighthouse in New England and the Middle Atlantic states down to Georgia on the Atlantic coast, as well as many of the lighthouses that surround and protect the Great Lakes.  When I asked Sundal about the West Coast lights, he said he has some, but they were not demanded like the East Coast lights were.

This amazing collection of Sundal’s surpasses the one hundred piece mark.  He even says if there is a lighthouse he doesn’t have, or a period marking you prefer that he doesn’t have, if you commission the piece you can have it.  He will research and paint you the lighthouse in the year you wish, at the time of day and season you want.

So why are the lighthouse markings so important to Sundal when he paints?  The markings of the lighthouse  helped the sea captain identify where he was, since many of the lights were similar in design.  For instance, the markings on the St. Augustine lighthouse are very similar to one in New Jersey, but if you saw the red light mast and the black and white spiral you would know you were in St. Augustine.  These markings also mark an era for the lighthouses, however, as he pointed out some have never changed.

Sundal’s collection of lighthouses got me hooked on these architectural works of art, so much so, I had to travel to see them in person.  Many of the lighthouses are still in commission, and can be climbed.  When you see his collection, then go and see these structures and you will see how true to life Sundal was in his paintings which shows the level of professionalism out of this soon to be legendary marine artist.

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Randall Browning- Realism At Its Best

May 30, 2009 By Leave a Comment

9cWhen one creates art, we all have our own unique style which manifests onto the canvas bringing it to life by revealing that style which expresses us.  Some styles are more abstract and fictional, while others show realism or some leap off the charts into the realm of surrealism.  Randall Browning is a master of surrealism in his work.

Upon seeing his art for the first time, I actually thought it was just a photograph of  still life pieces.  Browning tends to focus on general everyday kitchen items and gives them spice by adding wild contrasting colors such as black and white checkers or red and white stripes, thus giving the picture different textures and feel.  After I studied the art and learned more about Browning, I found that these are not photographs at all, instead, they are masterful renditions of still life paints.

From that point on, I was in awe of his talent.  This man is able to make the most realistic looking metal I have ever seen; the glare from the smooth sheen on his coffee pots and coffee mugs are a work of true artistic discipline in the highest sense.  I haven’t seen many people capture the feel of textures like Browning in a long time. Like I said, I thought it was a photograph of a real cup and coffee pot.

Browning’s whole life revolves around the arts.  He received formal training in New York on a two year merit scholarship where he attended the Art Students League.  It’s here that he studied under some exceptional artists like: Robert Emil Shulz, Jack Faragasso and George Pasantino.  Browning is even more remarkable with his talents, because he’s been considered a professional artist since the age of thirteen, which were years before his formal artistic training.

For years this artist has been focusing on portraits, which his resume is packed full of for over 28 years.  Browning, however, seems to like philosophy and his recent creations, like the ones we mentioned, are designed on the Zen principle of meditiaton.  This collection is still life, but Browning’s goal isn’t about the objects he paints, instead it’s about taking ordinary inanimate objects and showing how they affect people emotionally, as Browning states.

16cBrowning’s collections deck the walls of galleries, and the walls of people both famous and non-famous, giving him a well rounded resume.  Some of the people who own his work are:  The Jerry Jones family (Dallas Cowboys owner), Linda Bloodworth Thompson (producer of Designing Women), Leonard Katzman (producer of Dallas), US Senator Doyle Webb from Arkansas, and many more.

His work are in exhibits across the world, and those exhibits can be found at the following places, which may even be in your own backyard. They are as follows:

  • 2002 Sierra Nevada Quinta Real. San Miguel de Allende, Guanajuato, Mexico.
  • 2001 Galeria Dos Culturas. “Myth Becomes Reality”,” San Miguel Allende, Gto. Mexico
  • 1999 Galeria La Estrella. Acapulco, Guerrero, Mexico.
  • 1998 Galeria La Estrella. Interlomas, Mexico City, Mexico.
  • 1998 Galeria La Estrella. “Guanajuato Trade Center” in Dallas, Texas.
  • 1997 Portrait Brokers of America. Atlanta, Georgia and Birmingham, Alabama. Exhibition of portraits.
  • 1997 Thomas Gallery. “Images of Mexico,” Little Rock, Arkansas.
  • Ram’s Head Gallery. “Masks, Myth and Dance in Mexico,” Dallas, Texas.
  • Southwest Gallery. “The Mask in Mexico,” Dallas, Texas.
  • Dolona Roberts Gallery. “Masked Dances in Mexico,” Santa Fe, New Mexico.
  • Trammell Crow Center. “Mask as an Archetype,” Dallas, Texas.
  • 2006 “Get Real” Exhibition in Discovery Galleries. Washington, D.C.
  • 2006 Exhibition in Forthsmith Gallery. Atlanta, Georgia.
  • 2005 One man show. Exhibition in Galeria del Claustro. Juriquilla, Queretaro.
  • 2004 Exhibition in Gallery Central. Hot Springs, Arkansas.
  • 2003 Exhibition in Galeria Dos Culturas. San Miguel de Allende, Guanajuato.
  • 2003 Exhibition in South West Gallery. Dallas, Texas.

You can also find him at these galleries:

Discovery Gallery
Southwest Gallery
Ro Gallery

Randall Browning’s work will definitely touch you in some way, while tickling your imagination.  Sit and look at his work and figure out how he created a painting so real; it’s his true blessing to the art world.

If you want to contact Browning or see more of his pictures, please see his web site at www.randallbrowning.com

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American Ruins By Adam Rote

March 31, 2009 By 2 Comments

adamrotesaltonseaHave you ever looked at a picture that looked so real you’d swear it was a photograph? If you have, then you’ve just experienced “realism” at its best and you can easily see why it’s the hardest expression of art to execute. Details, blending, colors, and knowledge of space and perspective are key to ensure you double take that the picture really isn’t a photograph. Recently, I was referred to a collection of pictures from a gallery in St. Augustine. They told me that I had to see this artist’s amazing work; the detail will amaze.

What I saw was a collection of extremely detailed pictures portraying beautiful, young and vibrant women in period attire, against a wall of decay and abandonment; showing beauty in both scenarios of the piece. The detail was so intense, I actually had to ask the artist if he painted over a picture and used mixed media for his work. I was wrong. The artist never incorporated photography at all, instead it was hand drawn art at its best. I was so impressed that I had to write about this artist.  His name is Adam Scott Rote of Adam Scot Rote Studio.

charlotteThis amazing realism artist is a self taught master. He tried to enter the Cleveland Institute of Art, but to his surprise, never got accepted. Looking back, Rote says it was probably the best thing that could ever have happened to him. He wanted a challenge in art and wanted to be creative, not just draw the pipes on the wall in monochrome. After all, where’s the passion? Instead, Rote studied in the library, reading about art and techniques of the masters, then applying what he learned in his own work.

Rote isn’t your typical artist. He uses a variety of mediums to create his pieces including acrylic paint, air brush, watercolors, and pencils. It boggles my mind to know that you can combine so many different mediums together in one picture and make them work seamlessly; but Rote does it so well, almost effortlessly.

Rote’s success has extended past just his art. He owned his own gallery in Key West, Florida from 1989 to 1994. It was during that time when he did a lot of celebrity portraits. Rote eventually started his own mermaid and mermen collection, which gave him his nickname, the “mermaid and merman man” of the 90s.

When Rote moved from Key West to Ft. Lauderdale, he started to incorporate his models with the old buildings down through South Beach in Miami. This led to his current and most well known collection, “American Ruins.” This collection is a signature collection whose concept and application helped Rote stand out from the rest.

adamrotepic“American Ruins” was born with a photographer friend of his that showed him some pictures that he took of an old, run down building in Massachusetts. That gave Rote an inspiration for this collection. He says growing up in the 70s there was always an elegance, look or style on the TV or in person, even with his parents, that just fascinated him. Rote took that elegance and mixed it with the old condemned buildings and got this intense collection.

What’s so wonderful about this collection is that it captures beauty in the decay, while showing the elegance of the period though the women he incorporates into the pictures with their ghostly forms. It allows the art to talk. What you see is what this building looks like today, obviously abandoned, but it flashes back to its glory days when it was lived in and loved.

The pictures incorporate all the mediums Rote utilizes, and captures an astonishing level of realism. I dare you to look at it closely and tell me if you have to do a double take to see whether it’s a photo or not.

With the theme of old and new, Rote continued the line incorporating that ideal into a new collection called “Modern Pop Ruins.” This has the same kind of feeling as “American Ruins,” except that it incorporates the fun loving characters we used to watch in the mornings such as Count Chocula, Boo Berry and Franken Berry. This cool collection portrays these characters as brand new. However, the box they are on looks like it was buried in the back of your grandmother’s cupboard and forgotten for 30 years before it was exhumed and brought back to the light. It’s simple in nature, but it makes you think about all that is around you and how it will look years from now. It also makes you think about the other side, like the stuff we grew up loving. What would it look like now if we pulled it out from the depths of our attic?

Rote’s pictures bring out thought and beauty in many forms, capturing an emotion that’s hard to describe. His work is one that will never be duplicated, and his intense realism can only be strived for. There is the expression, “if walls could talk” and Rote definitely makes them do just that. In fact, the message hits you right square between the eyes.

If you want to see this talented artist’s work, you can see it at the following galleries: Gallery Duval in Key West, Collection Privee in South Beach, Miranda Galleries in Laguna Beach, CA and of course, through his website where you can see some digital samples of his work, www.adamrote.com

Photo Credits: Photos contained in this article are published with the consent of Adam Rote and can’t be used for any other reason without permission of the artist.

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Ted Mikulski- Abstract Expressionism

February 27, 2009 By Leave a Comment

The title of our magazine is The Expressionist, because art is a form of expression.  This artist considers himself a New England Abstract Expressionist, in other words, a phenomenal abstract painter who expresses himself through his work. That man is Ted Mikulski, an artist and professor in New England, Connecticut.  Mikulski is a teacher at the university in which my parents graduated from, and hails from my home state. 

With abstract art, there are no “defined lines”  and there are no “rules.”  It is completely how the painter wishes to put the subject on the canvas.  If they want to draw a line a half inch thick, and draw an eye on the top and call it a human, then it’s a human.  Abstract art is, in turn, the rawest form of art and is growing more popular each and every day.  Abstract art also brings another great quality to the table which is simply the fact, everyone sees it differently.  Ten people can look at the same painting, and ten people can come away with a completely different meaning.  Though abstract art doesn’t necessarily have to have definition in it, it does pack a punch of ideals the artist may bury in the art which are there for you to hear if you only take the time to listen.

Ted Mikulski has this down to a science.  He first got his taste of art when he was in architecture school, stating he would often find himself in the library researching 50s and 60s art because it fascinated him.  Some of the work that really caught his eye and drew him to the love of art were Warhol, Pollock, and Stella; also known for their industrial art, which makes sense since he was studying to be an architect.  Mikulski, however, decided to go into the arts professionally; it had too much of a pull to ignore.

its_a_party_tedmikulskiIn his own work, Mikulski draws his inspiration from Post-War American Art, which ranges from 1945 to today.  He credits the following artists as those that inspire him most:  Helen Frankenthal, Frank Stella, William Ronald, and Norman Bluhm.  Mikulski recently stated that he is collaborating with other abstract expressionist artists such as Peter Smolenski.  Mikulski says that when he paints he tries to avoid negativity, which is not following the path of the traditional abstract expressionism ways.  This truly shows in his work, with the bright colors and free flowing designs that accent a full of life expression.

One of his awesome techniques he applies in his work is the ability to blend. It’s truly what caught my eye when I first saw his work. “I like to work with a series of blending techniques that allow you to lose sight of where my hand was during its creation.  This creates a disconnection between me and my work, allowing the viewer to connect solely to the painting.  It also gives the work a sense of urgency, like it is forever in motion.”

Mikulski is a true artist at heart.  Not only does he paint, but he teaches art at Tunxis University in Connecticut and he has his master’s degree in Architecture from Norwich University.  This artist is also writing a book to apply his talents in the Literary Arts field as well. That book is entitled,  Art is Dead.  It is a discussion about art in a society that is surrounded by technology and desensitized youth.  The book will feature several professional artists’ contributions as well.  It is scheduled for release in the middle of this year.

His work is not just for his students to see or for his peers; currently Mikulski has his work in a few galleries around New England for all to see.  Those galleries include the Pump House Gallery, Union Station Hartford, PD Gallery, Gallerie Vivace, and the Middle River Gallery.  If you are looking to view some of his great work, we suggest going to see them live in person at any of these establishments.

So how can I tell that Mikulski is a “true” artist?  Simple, besides his great work filled with amazement and feeling, he has the best statement of his experience that shows his profound love for this field. “Often times 3 A.M. will roll around in my studio and I’m exhausted.  I’ll take a look at my hands covered in paint and can’t do anything but smile and remember not to take life too seriously.” If you’re an artist, you will understand that statement and smile with him.

If you want to contact Mikulski, his web site and e mail are:  www.TedMikulski.com, e mail: contact@tedmikulski.com 

Work Interpretation

winterseries3I thought it would be fun to add my interpretation of one of Mikulski’s works.  This is something I haven’t done previously, but with his work you can sit down and see something different every time.  So without further ado, here is my interpretation of “Winter Series 3.”

When I look at this painting, it reminds me of the frigid winters of New England because it looks like the formation of ice over the tar.  If you ever sit down and look at ice closely you will see the glassy surface, but throughout the ice you will see its impure with lines, the small vein looking lines from the impurities of the water as it froze.  You will see the ground below the ice surface, and if there is a high spot in the ice, the tar may even stick through and the ice will surround the small wave in the pavement. 

That is what I see in this painting.  As a child, I loved walking on ice despite my parents fright.  I had no fear.  I would sit and study the ice, to see the rocks caught inside and maybe a bug or two if they dare come to the surface during the snow.  I would love to watch the spidering of the ice, and I would try to discover patterns and pretend it was a map of a city. I never did find any bugs, but it was a calming experience and something I looked forward to every year. 

This painting has some of the most unbelievable details inside of it.  Generally, it’s an off white and black, typically the colors of winter.  There is even a slight wash of purple or light blue throughout the painting, not enough to stand out, just enough to accentuate the piece.  A real nice effect as it gives it a small hint of color. It is something you could see in a New England winter among the barren trees and snow covering the grass; a small splash of blue or purple in the snow.  The painting also has the finest feathering, spider like lines.  This to me shows incredible control and painstaking detail.  The big blobs of black (noir) could be the unleveled pavement that sticks up through the surface of the ice.

Despite the fact winter is a time of hibernation, death and cold, this painting is full of life and imagination in preparation of what the world will look like once the snow melts.  It represents one of my favorite times in the year and makes me think of my fascination with the winter as a child.  This truly shows the detail Mikulski puts into his work and how much talent this artist displays.

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Angeline D’Balentine- Turning Japaneesa

January 31, 2009 By 1 Comment

geisha_ink1The world has been around so long we can’t even give an exact date of its creation.  Through those years, cultures have defined countries, people and religions. Each part of the world has had some impact on the future generations and those ideals bestowed from one generation to another, have blended through into the world today. These ideals were passed down through teachings, literature and art. Art has helped shape our communities and make this world unique.  That is exactly what Angeline D’Balentine found to be fascinating, thus inspiring her to teach and document through art.

D’Balentine is a multi-talented artist, meaning she uses a variety of mediums and does them very well. She has studied many different cultures and religions from around the world, taking what she’s learned and converting it to art.  D’Balentine is able then to document the world as she sees it and how it impacts her life.

The most recent example of this is her phenomenal series, “Japanese Art.” This series is inspired by Japan, a country and culture that has always amazed D’Balentine. We know the dynasties that have ruled over this small Pacific Island and how much this culture has impacted our world. They have founded alternative natural medicines and have developed forms of karate. Japan had a major impact in World War II, and forever changed how we look at weapons of mass destruction. They are the innovators of great technology such as video games, televisions, cars and so much more. Japan has in some way, touched our lives because of something we know and love and hold dear to our hearts. D’Balentine takes this impact and puts it to art, for all to see and be wowed by.

m_48447dc74e2ad5d40c63a0ec61189fb7D’Balentine’s Japanese collection right now only has four particular pieces. Those pieces are mixed-media since they are a collaboration of photography, graphic art, paint and pencil. Some of these pieces have a few mediums together, while others have just one.  Each piece in D’Balentine’s collection is very unique and individual in their own right. They are amazing pieces that glorify Japan’s culture and history.

A personal favorite of mine from the series is a Japanese Geisha, armed with a Katana sword, showing her power and mystique. On the other hand, the Geisha’s kimono shows her beauty and glorified feminine physique. She reminds me of a character in the movie, Mulan. In this movie, there is a very brave and powerful young woman who wants to protect her father. This was in a time where it was forbidden for women to join the Emperor’s army; a great portrayal of both sides of the Japanese woman. I love the intricate detail on the border and fans that line the left of the picture. This is very similar to what you would see with authentic Japanese art, from composition, to colors, and detail.

D’Balentine also has a few other series that she has worked on over the years. She loves drawing realistic portraits, to be as detailed as a painting would be. Most of these are done with pencil, but the end result is simply a stunning hand drawn portrait you’d swear was a photograph.

In 2008, D’Balentine also illustrated a children’s book titled, “If Everyone Were Just Like Me.” This project she is very proud of because it’s a story that gives a lesson to children, and her art work will help a child retain the lesson that the book gives. Helping children and giving them something they can enjoy and love is a spectacular feeling.

I talked to this amazing artist and found that her goal for her work is to document cultures, tell of their wonderful uniqueness, and hope that it inspires younger generations to look into other cultures and religions and understand what makes them so unique. D’Balentine would also like to see her art inspire others to pursue art as an outlet.

We think you will love Angeline D’Balentine’s art.  Currently, she is working on a web site but you can see some of her pieces on her MySpace page at www.myspace.com/arhazime.

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American Folk Art

November 20, 2008 By Leave a Comment

untitled2We all know that throughout the centuries, art has played an important role in our culture.  We watched art evolve throughout the years, from a simple rock carving or basic rock painting into realism within the Renaissance era.  Despite the fact that each era has its own technique and goals it is trying to apply, everywhere around the world had its own unique style.

For instance, the colonists that formed the original 13 colonies came from England mostly.  Despite the fact it’s where the Renaissance took place, they had their own style as well.  Mostly known as Folk Art.

When you see these pictures, it is easy to tell they are early American.  For instance, most of the pictures you will find are simple in nature.  They depict scenes from the town as it looked back then, but on a 2D (two dimensional) style.  They didn’t use many color tones, and the colors were not vivid like an Elizabethan era painting.  Sometimes the portraits would resemble that of a modernism expression, but generally they stuck to a 2D perspective.

untitledDespite the techniques, the 2D perspective and the lack of highlights and shadows, these paintings are our history.  They tell us the tales of our country’s beginning.  They show us how simple life was, but how strict it had to be to ensure proper etiquette and social status, and for the longevity of their loved ones.  These photos depict how people dressed, what people found important, which far differs from today.  Without these pictures we would have lost the documentation of our relatives (since there were no cameras in the late 1700′s to mid 1800′s), we would have lost our history; these paintings are some of the only ways we can see what life was like.  Sure the pen and paper still exist from back then and we have records, but those records fade and can become unreadable.

untitled1I hope people take the time to really study and enjoy these works of art.  Look into them deeply and you will see the past take shape like it was a movie.  These simple portraits and paintings will take you back to a time where life was short, work was hard and people were measured in wealth by their plates and furniture, not cars and the size of their homes.  It will take you back to a time where people fought for the country, bled red, white and blue and loved the freedoms we have bestowed on us today because of them.  These paintings speak mountains of information and are there to speak only if you are there to listen.

Each one of these photos are hanging at the Wadsworth Atheneum in Hartford, Connecticut.  They are originals that date from 1776 to 1850, and are local Connecticut residents from New England’s past.  These photos do have some glare but that is because of the lights they have on them and they were taken with my cell phone.  Look them over, study them, see the expressions and the clothing.  Look how they stand and sit because it tells a great tale of American past that has shaped our future.

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Markus Aurailieus – Urban Beat

November 1, 2008 By 1 Comment

What do you find inspires you as an artist?
Everything. I really mean that. A better question would probably be what doesn’t inspire me. This is the most exciting time to be alive, and my eyes are wide open. Just take a look around, instantly you are bombarded by imagery, emotion, a story, a life. Short answer, everything from: a classic car, a rundown building, to a beautiful women passing you by on your way to the local store. Just everything.

What mediums do you work in?

Mostly acrylics but I also do a lot of charcoal drawings, and oil pastels. For bigger things I use spray paint.

Your work tends to how a more modern and urban style, is this from your upbringing and your past, or is it just something of interest?

Well I was born in a pretty urban place in New Jersey, though I spent most of my life here in St. Petersburg, FL. I’m not sure exactly where that comes from, but as far as I can remember I loved it. I seek out places with a lot of big buildings to feel closer to home.

How long have you been doing art, any formal training?

I’ve been doing art since I was old enough to hold a pencil. When I was two, I drew all over the walls in our house. In elementary school I got into my first fist fight after one of the bullies crumbled up one of my drawings trying to pick on me, and in high school I spent countless hours drawing while serving out in school suspensions. I became serious about art the first time one of my paintings were burned; I became relentless about it after the first time I had a body of work stolen. My training came about from hours upon hours toiling in the darkness forging my own path my own style while at the same time trying to conquer the technical aspect. I also took many art classes in high school they had to create a few new ones just for me .

Tell me about some shows you have done, what reactions did you get.

I’ve done countless amounts of art shows over the last two years, I can’t even remember how many. One of the most notable one, was the “What is Art” art show at Nova 535; simply because Mike Novella understood something special about putting on an art show. You had to make an event of it. There was valet parking, and red carpet photographers, people dancing from ribbons suspended from the ceiling, belly dancers, and Ms. Ivanka Ska’s completely ill fashion show. They even had a staff of people whose sole purpose of being there was to sell art from the featured artist. And as far as reaction is concerned, it’s mostly a mixed bag, I get some really good feedback and some negative feedback as well.

In this economy what is your best advantage to marketing your work?

As an artist I can really see no difference with this crazy economic plunge that’s been happening lately, mainly because it was hard to sell paintings before it happened, and it’s still  just as hard now. People have to literally fall in love with a painting before they spend money on it, and that’s a great thing. My best marketing strategy , for dealing with this economy, is this; I do whatever I can, within reason, to make sure that if someone wants one of my paintings, they get it.  Due to the economy, I’ve recently decided to drop my prices, making every painting a hundred dollars or less until the economy recovers.

What is your goal as an artist?

To inspire, to inspire others to inspire, to impact people, to make them stop in this crazy rat race we’re living and stare in awe, and to think and feel. To contribute to acts of creation for every one act of destruction. It’s my way of standing on a summit and screaming I was here, I lived, I existed, I loved, I am an artist.

You use vivid colors, to some artist color choice is an expression. Is this the case with you and if so, what are you expressing.

Music sounds better when the volume is turned up so loud the bass shakes your lungs right out of your chest, right?  Using vivid colors is my way of turning up the volume.

How can people reach you to purchase your work, or have custom art done by you.

People can reach me through a good number of ways. First there’s email, Aurailieus@gmail.com. Then you could friend me on mysace at www.myspace.com/daburgsillestemceee, or my cell at 727-520-3925.

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