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.

Like 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.

His 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.

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.

Over 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.

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.

Browning’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

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.

This 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.

“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.

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.

In 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

I 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.

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.

D’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.

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.

Despite 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.

I 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.

What do you find inspires you as an artist?

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.

What inspires you in your art?

The first would be pain, I’ve had quite the obstacles to overcome to get to where I am now. I wasn’t always admired or respected as I am today, those are things you have to make happen yourself… there are far too many obstacles to list them all so I will mention the ones that have had the most impact on me and my ways of being.

Growing up I was very poor, often teased, and socially awkward. I wasn’t the prettiest one in class and an allergic reaction to a medication I was given caused me to gain a lot of weight (which took me years to lose) in a short matter of time; therefore, I was bound to get teased for that. Socially I always felt ahead of the children/students around me; my mind races with billions of thoughts every second. I’ve been lucky enough to breathe, making me unlike the others. When I was young I was tested and found to have an I.Q. of 168, I have been drawing and painting since the age of two, I’ve always gravitated to the things that others didn’t.

Pain will do many things to one’s self, and all that person may or may not stand for… but pain isn’t always something to frown upon. I don’t believe anyone can understand the kind of pain I went through to bring forth my precious son, that is one journey that needs a book itself in order to understand the entire story; yet after all the pain my body had endured I can honestly say I’d do it all over again if it meant my child would be safe and intact. I have 8 herniated discs, and a spinal disease, along with over active thyroid disease. I am in agony all the time and I’m physically exhausted.  

My son, aside from my husband, has truly become my every reason to be.  They are my reason to go forth and never end the war between myself and the pain I deal with every moment I’m alive, thus making them the fire, that burning passion, that makes me who I am and keeps me creating. So in a nutshell I suppose there are many things that can inspire one into art; everyone has their own reasons and story but those were some key matters in my life that inspire me.

What does art mean to you? What impact do you see it has on our world?

In a sense everything is art, so art in a sense means everything. It all had to come from somewhere, whether it be a building, painting, animal, food, etc. All has been delicately molded into something, something we bring meaning into and ultimately the meaning we all live and die for. Our world is a work of art in itself, something we can all look at and apply our own views onto; yet it is only through a clear and unbalanced mind that we can fully see the things I’m saying. Far too many people spend their entire lives trying to find a balance that they fail to see, that they are all living and dying without finding the reason why they exist; along with it’s purpose, making them unable to see the true impact art really does have on this world. The strange thing about art and painting is that it lasts forever so in a way it makes you immortal, …infinite.

What is your favorite painting and why?

My greatest work of art is my son, but since he doesnt consist of oil paints and consists of flesh and blood i suppose he isn’t in the running…but for my paintings, that’s a tough one. I love all of them for very different reasons but I’d have to say “Lavinia.” If you ever saw the movie Titus, there is a scene that touched my soul where Romulous and Reamus kidnapped Titus’s daughter, took her to a desolate place, stripped her down raped her. They cut off her hands, placed tree branch twigs where her hands once were, placed her on a tree stump surrounded by sharp thorn bushes barefoot, so she was stuck there and couldn’t get down; to make matters worse, they cut out her tongue to silence her from calling for help or saying their names. With no hands she couldnt write their names either. It was something about the helplessness along with the vulnerability that touched me enough to paint it. The manner in which she was left behind, to suffer and die. This whole act was done to her for something her father did, she was an innocent, she was beautiful; and they took everything from her. In my painting I made it so it looked like the sky was swallowing her whole, as in a way to take her away from her pain and the anger within the clouds evoked the emotions she was feeling….

Tell me about you, and the artist you want to be?

For starters, in my mind, one can only be called an artist when we expire, but as long as we breathe and bleed I’d say we are only painters and architects of thought. So the type of artist that I’d aspire to be is a dead one.

When all is said and done, you look back on your life, what do you want to say you accomplished? What do you absolutely not want to say you regret.

I’d like to leave a pretty nice dent in this world in one way or another, be it through my work or the things that I experienced. I regret nothing, why do something you’d regret in the long run? It’s both pointless and a waste of time, and time is something I do not like to waste.

What is your favorite medium, what mediums have you dabbled in as well?

Oils, they’re what I prefer the most over any medium, when I’m with my oils and brushes, I am home. Acrylics aren’t my thing but I’ve dabbled with them in the past. I’ve done air brushing, watercolors, charcoal, but like I said oils are my heart and home, in some odd way they truly complete me and my many thoughts.

Give me some feedback on how your art has touched others lives?

I sold my human condition painting to a soldier from Iraq. I really wasn’t interested in selling it, but when I saw how important it was for him to own it, and the connection that he felt he had with it, I knew I had to part with it.  I get emails very frequently from fans of my work that tell me I inspired them to paint and keep working.  They say after reading the story about my struggles and triumphs, if I let nothing stop me, then they have no excuse. Over the years I’ve become quite the role model and mentor, for girls and for quite a few as well. When I was a little girl I just enjoyed creating anything. I never knew that by people finding my work and in turn finding me, I’d be saving lives and inspired others to create as well. If my work just helped one person, I’m happy. I’m even more lucky that it has helped many….

Have you ever had your work shown in galleries, museums etc? If so which ones?

Quite a few local galleries, and solo exhibits even on a famous television show. I’ve also had my work published and printed in some pretty important places so that is pretty swell. My goal is the MET, Frick and the Louvre. Someday, someday.

What about art makes you happy the most?

The process, or all that is art, allows me to feel like there is a way and place for me to breathe; like I said earlier it’s home.

What do you learn from the past masters?

I’ve learned how to properly paint, from mixing paints, to the way I hold the brush, to the mental state I have to be in, in order to create. I’m completely self-taught in many ways, but most of the knowledge I gained is strictly from observation and independent studies.

Art is more than just creativity, it takes so much more…. What do you feel is the discipline in each picture you paint?

I believe that it truly comes from inside. It’s something you are born with; the discipline is giving birth to something that was only a picture in my mind at one point, a seed. To literally make it look alive the seed itself must bloom, something that that can only take place with proper care and attention down to the microscopic details. I’ve been told I have an extremely distinct style, that the eyes of my pieces follow you no matter where you go; they can see everything, including right through you.

When you paint a picture, describe the process from the birth of the idea to the finished product.

I’ll get an inspiration from the smallest thing or random idea and I’ll leave that thought in my head for months even years; sometimes I deal with it right away. Sometimes I sketch it, but most of the time I just freehand every thing on a blank canvas, or look at a small photo for reference. I have sat for up to 18 hours at a time with no breaks, and paint everyday for months on end, with a two haired brush and won’t stop until it’s perfect. My standards are pretty high for myself, I’ve been known to turpentine an entire canvas after months of work if I didn’t feel it was right. I take my work very seriously because it is an extension of me and all I have. When my work is complete I search for the perfect ornate frame and paint the frame to make my piece become one with the frame; because it is important in my mind for the frame not only compliment the art, but to be part of the art itself.

Please check out Gambrielle’s work at her MySpace page www.myspace.com/gambrielle and tell her The Expressionist sent ya!

Describe yourself as an artist.

An excerpt from my Statement best describes:

Making art can lead you to a balanced ecstasy and it can often leave you feeling cursed. I’ve driven myself close to the vibrations of madness with the desire for truth, gripping the idea tighter until I feel myself choking. I then (again) realize the secret. Move from the INSIDE OUT rather than the outside in. This simple yet challenging, ongoing process of recognizing truth is where authenticity is grounded. It’s where the highest choice is made, the only way to make art and…the best way to live.

This way has been carried into the theme of my work.

SACRED ART is the title to my continuing series of paintings and sculptures. They are visions, epiphanies, prayers and objects of ritual which are intended to serve as tools to guide us to the freedom of instinct (the ultimate survival tool). Instinct is too often ignore and this, I believe, breeds sickness on all levels, be it mental, spiritual or physical. No matter who we are, where we come from or whether we realize it or not, we humans inherently desire the same things: to be awake – aware- whole.

What does art mean to you?  How important is it in today’s society?

In it’s depths – a necessary examination of self deception. Art shakes things up – makes us reflect – connects us to each other. We will always need that. Every generation of artists has this task to perform. However in this time in history, I think it’s imperative we connect to ourselves and each other even more.

What has been your hardest hurdle to overcome with your art?

Myself and balancing time between producing desired amount of work and doing the Life thing (bills, rent, chores, family/friends keeping the boyfriend happy etc..).
 
As an artist, sometimes they are diverse in mediums… What is your preferred medium and are there any other mediums you dabble in?

I always work in oils but I like to build things too. I’ve recently been getting more interested in combining the two along the theme of ritualistic tools and doing a series of dioramas. I really like dioramas.

What inspires you when you make a new painting?

It’s usually different ‘medicines’ that help me through something I’m dealing with at the time. Things that keep me going. They can vary anywhere from dreams, authors, animals and plants to death and deja vue’s. Charles Bukowski is one who seems to keep popping up with no sign of stopping.

What is your goal with your work?

My desire is to bust open lies, sanction the holy forgotten, bring the balance between dark and light and to go perhaps beyond there. By combining universal symbols that go with the grain of instinct, I aim to bring an objective view of ourselves and our world. In sharing my personal journey with the viewer, I hope to spark their desire to honor the self. We must give birth to the highest choice. This is when we are truly awake and can live our lives to the fullest. This idea is my wish and driving force.

Do you have any formal training in art, or was it something you just picked up?

I studied painting at Parsons School of Design in NYC for a short while until my money ran out – then continued to explore on my own.
 
What’s your greatest achievement in your art career?

See question #3! It’s amazing to see people stand in front of my work for a long time. Sometimes someone is confused at what they’re looking at but something holds them there…they want to figure it out. Some react intensely. I’ve seen people cry and even angry! It’s a trip to watch the different reactions.

What’s more important in your art, color or subject matter and why?

Both are equally important. Color and images are specifically chosen to convey meaning of artwork. Everything is symbolic. One won’t work to it’s capacity without the other.
 
Do you do any custom work for people?

Yes, I am available for commissions.
 
Do you have work on display at any museums or shows?  If so please let us know where.

My latest work will be showing in METROPOLIS APOCALYPSE at Supreme Trading in Williamsburg, Brooklyn October 9th – October 30th 2008
(see flyer)
 
How can our readers find you or contact you if they want.

While my personal website is being revamped my work can be viewed at:

http://www.myspace.com/lorenmarks
and
http://www.myartspace.com

In St. Augustine, Florida, Cutter and Cutter, opened a gallery dedicated to the timeless Dr. Seuss called “Dr. Seuss The Imaginarium Gallery.” Inside, the walls are decked with many of his great creations from the “Cat In The Hat, Horton Hears A Who, The Grinch That Stole Christmas.” and many other great characters.  You will see some in storyboard form and you will see some paintings of the characters as if they posed for their portrait.  In some cases you will even see the beginning sketches of those great characters.  It’s a child’s paradise, and a reminiscing ground for the adults who remember those stories growing up.

What you may not know is that Dr. Seuss had his own set of prints and paintings he created for his own private use.  Some of them contain these great characters, but you will notice that most of them are a bit more grown up in nature, and may depict a more risque or sexually contented meaning depending on the eye of the viewer.  Some of us who browse the pictures may or may not get a hidden meaning. Dr. Seuss had one painting in particular that depicts what I am saying very well, which is ”Spawning Salmon up the Brook.”  

The picture depicts thousands of amoeba looking particles with round heads and small pointy tails, like a drop of water would look, swimming up this canal.  Obviously salmon don’t go up canals, they travel up brooks in smaller streams.  Salmon are fish, but these look more like the male side of the fruits of love.  Salmon do travel in groups, but not groups of thousands. Both male sperm and salmon they travel up stream, the sperms mission is to fertilize the egg; in the salmons case, to mate.  This picture is brilliantly done, but the hidden meaning inside can be as bold as the “I buried Paul” subliminal message embedded in the Beetles, “Strawberry Fields Forever” song.  Whats great about this is, it may be saying it, it might not.  Surely Paul McCartney wasn’t dead and buried as the “Strawberry Fields Forever” song implied, so that may not be the case here.  That is for you to decide, but you must see the picture to understand what I am saying.

On the clean note of this painting, it could pose and most likely does pose the the following idea. “Seuss purposefully asks questions that he intends the viewers to answer for themselves such as, “Are these Salmon having a final celebration before their journey to the cannery, or have they completely escaped this unsavory predicament.”  That’s what’s so great about art, its up for interpretation, there is no right or wrong answer to what you see or get out of the painting and this one by Seuss brings that ideal with art to the table.

I was highly impressed not only how the gallery presented his work, but the fact that I could see these original pieces by an artist I have adored since childhood in front of my very eyes.  I also love the fact I can purchase his work, and I learned something about the man behind the cat, that I never knew.

I love your work, its so unique with your paper.  What made you decide to use books and the print type?  How did that all come about?

I was reading an old mystery novel one day and became really inspired by the wording and imagery.  I started doodling directly on the page, trying to discover a style that would properly convey the drama and
feeling of noir.  I dabbled with heavy cross hatch, then a bit of stipple but settled on something resembling stencil graffiti. Actually, people often ask if I use stencils in my work,  I don’t.  I focus on creating high contrast and try to avoid unnecessary line work.  My work is drawn on pages from books printed in the 20s, the old paper soaks up the ink just right.

I see mostly women in your collection, do you draw men too?  What inspires you to draw women.

I’ve drawn men for custom requests but I’ll never draw one for fun.  I try to create art that is both aesthetically pleasing and compelling and I just find the subject of strong, assured, and certainly deadly
women to be my favorite.

When did you learn to draw?  Did you ever take formal lessons?

I’ve drawn pretty obsessively since I can remember.  When I was little I drew with my parents nearly every day and they’ve always been supportive.   I’ve taken a few classes at a local art institute when I was younger and had one inspirational art teacher in high school.

What artists, cartoonists, etc….. inspired you as an artist to draw if any?

Comic books where my biggest inspiration for a long time.  Still the idea of conveying a story with art remains in my work.  I think the only comic artist that still directly influences my work now is Frank
Miller.

Do you have any of your pictures on display anywhere but Etsy?

There’s a few random boutiques and galleries that stock my prints but my main distribution channel is Etsy.

What is your favorite piece and why?  What makes it so special to you?

It changes every couple of weeks but the piece “Spare me,”http://www.etsy.com/view_listing.php?listing_id=14281729 pretty much nails it for me.  The look, the lighting and feeling of it fit just right for me.  She’s on her way out the door and nothing you say will stop that.

It’s always nice to hear that I’ve surprised someone with my work; that it’s nothing like anything they’ve ever seen before.   Other people see my work and are unimpressed.  I’m okay with either reaction.  Art is completely subjective and I firmly believe in the saying, different strokes for different folks.  I just love that at least some people dig it.

When you draw, what do you think about?

My attention span is admittedly low so I am often multi-tasking.  At the very least I’ll be focused on music I’m listening to or even watching a movie while I draw.

Define your view of an artist, referencing yourself, what do you want people to get from your work?

I hope the viewer can find both beauty and intrigue in my work.  I want to convey part of the story but leave the rest to interpretation.

Any advice you can lend to other artists?

Stay true to creating what you love, ignore trends and focus on what makes you happy.

Alan’s preferred medium is oil paints, but he is not restricted to just oils. Alan has worked in pen and ink, colored ink, watercolors, pastels and charcoal drawings.

Believe it or not, Alan’s career as an artist started when he was in high school. He told a writer for his website, “I been drawing since second grade, and I am pretty much self taught, but in high school drew a drawing for a friend of his, that he needed for a class assignment. It went so well, that the word spread about my talent, and I found myself in business, selling my work at fifty cents a drawing.” I asked how he didn’t get caught, and Alan said “I made small variations to my work, with my style and technique, and the teacher was completely unaware of his work.

In 1957, when Alan was 17, he dropped out of school and joined the US Navy, and was stationed out of Norfolk, VA. From 1957 to 1961 Alan was assigned to a destroyer. He saw duty on the Mediterranean Sea, North Atlantic Ocean and the Caribbean. At the start of the Cold War, his Navy platoon, ASW, was playing ‘hop-scotch’ with Russian submarines.

After his discharge from the armed services, Alan still enjoyed the water and was an active sports/ scuba and professional diver doing underwater recovery. It was here that Alan saw the beautiful underwater life, and later painted what he saw.

Sundal, owned and operated his own art gallery in Gatlinburg, TN from 1982-1990. During this time he was making reproductions of his original work, in full color, and he limited the quantities to 750 prints on high quality rag paper. Alan signed and authenticated all his prints and originals in his collection.

Alan’s greatest achievement is his Sullivan Collection, a 45+ piece collection of original paintings that hangs in museums all across the North East; including the US Coast Guard Museums in New London, CT and Washington D.C. The Boston Heritage Museum , National Maritime Museum, Boston Harbor, and the Scituate Historical Society. The collection is comprised of historical maritime and life-saving rescues throughout the US Coast Guard’s history.

Today, Alan travels the US going from show to show selling prints and originals of his work. Alan’s work includes; Florida Lighthouses, East Coast Lighthouses, Great Lakes Lighthouses, Historical Shipwrecks, Naval Vessels, Oil Rigs, and Nautical Animals with Underwater Scenes. Alan still takes commissioned work, Contact us for his contact information.