Friday, July 14, 2017

Day 162: David Morgan

Thursday, July 13, 2017

Day 161:Gretchen Proulx

Artist Statement: Imagine if we judged each other based on an individual’s soul rather than one’s physicality; how different would the world look? Life is all about perspective and how we perceive the world reflects in our characters—who we are as people. Though change occurs in small increments over time, we have the power as humans to change our thoughts and behaviors to be more kind, ultimately aiming for positive change in ours and others’ lives, our community, and our world. Painting entails a process that is versatile and malleable. It is a practice that involves perpetual change: change in technique, change in medium, change in brush stroke, change in color palette, change in artist’s energy. 
Each of my oil paintings begin as a depiction of how the world is now—an exposure to the highlighted struggles that people face, but are often ignored by their own human race. Through the changing processes of oil painting, I will be using various techniques to demonstrate the change in human behavior of what the world can and could be. Through the act of painting with shifting color palettes, creating several textures, and using various mediums in sections of the painting, it will encourage the viewer to think about the relationship of changes of technique in the painting with a change in action in one’s own behavior. Before we make judgments or preconceived notions about an individual, we should think about how our actions may inspire or enervate that person’s life. It begins with changing our behaviors to reflect more compassion and kindness. These paintings are meant to speak to the viewers through a pictorial story of self-reflection and interpretation, encouraging dialog social justice engendered by the paintings. It will empower others to find and use the compassion and kindness that exists in all of us to make simple changes to their lives by embracing tolerance, acceptance, and inclusion. We are the most powerful entities and through art, we can learn to act as the agents of change. 

Instagram: W0rldismy_canvas

Gender Expression
Ambiguity
Imagine


Wednesday, July 12, 2017

Day 160:Pamela C Drapala

Artist Mission Statement:

With a passionate and well-crafted line, Pamela Drapala paints faces. She depicts the wholeness of a person’s being through a careful study of that person’s life. Her paintings portray a dignified ethnicity in her subjects. Before painting a person, she conducts thorough research into the person’s country, customs, and costume. Through this investigation she accentuates the individuality and fullness of her subjects. Her portraits are a collection of multi-cultural identities. At times, however, she works completely from intuition, letting her portraits take shape from her subconscious. In these instances, her work may resemble old acquaintances or lost loved ones. Since childhood in the Southwest, Drapala has studied painting with a concentration in portraiture. As a constant creative spirit, she also publishes books, writes poetry and lyrics, and creates sculptures. She currently lives and works in the Southwest and her work has been commissioned by individuals across the United States. 


Biography:
Pamela Carvajal Drapala - Born and raised in Yuma, Arizona. Attended Yuma Union High School, Arizona Western College and Northern Arizona University. Degree: AA, Arizona Western College.  BA in English and focus in Art.  Scholarship Founder of the Vincent A. Carvajal Art Scholarship for Yuma high school area seniors. 3.96 GPA - Northern Arizona University.  While in college, a member of Phi Kappa Phi, Sigma Tau Delta, Sigma Alpha Lambda, Arizona Association of Chicanos for Higher Education, and the National Museum of Women in the Arts.
Publications: 
Four published books, poetry, essays, and short stories can be found at - In the Eyes of the Wild, Yuma Daily Sun, Shuz Magazine, Awareness Magazine, Colorado Crossing Editions, Library of Congress, Reaction Exit Art, La Hercencia Magazine Editions (2), and Time of Trial, Hidden Press, two CNN I-Reports.
Exhibitions and Performances:
2017, continues to show art at various studios, galleries, and art centers. One Woman Show, ALAC-147, Phoenix, AZ October 2013, Tempe Library Arizona Centennial, Bikers’ Series 2012, One Woman Show, Yuma Fine Arts 2012, Arizona Centennial, ALAC Art Show 2012, NAU Celebration of Achievement and Showcase, April 8, 2008.  Gathering of Three, June 9, 2006, through September 30, 2006, Yuma Art Center Museum (Historic Downtown), 254 S. Main Street.  Supported by the Yuma Fine Arts, City of Yuma, Arizona Commission On the Arts, and the National Endowment for the Arts.  Galeria Tonantzin - Las Mujeres Exhibit, San Juan Bautista, California, March 11, 2006.  Night of 1,000 Drawings, Artists Space, New York, New York, December 2005.   Arizona Western College - On the Border Exhibit - Farm Worker Series - September 2004.  Agora Gallery, Soho New York - June through July 2004.  Taste of Fine Art Auction - Yuma, Arizona - Donation of Frida at Peace.  Hospice Ocean to Ocean Art Show - October 2003 - Donation of The Crossing and African Sunset Tiles.   
Art, Poetry, and Photography - Presentations to Audiences:
La Llorona, Anthology 2012, painting image, Yuma Regional Medical Center Volunteer Children’s Area 2010 (presenter of poetry, art, and nursery rhythms), Northern Arizona University 20th Anniversary Celebration 2008, art, poetry, and photography presentation – Fruitful Yuma Valley, Arizona Western College 2008, art, poetry, and photography – We are all Connected, March 13, 2008.  Desert Artists, Yuma, Arizona, November, 2006. 
Awards:
Artist of the Year, Fine Arts, Yuma County Fair for  the painting, “John English” from Bikers’ Series, Outstanding Purple Ribbon, Fine Art Competition, Yuma, AZ 2005, Pay Day, Farm Worker Series.  Blue Ribbons: Fine Art Competition, Yuma, AZ 2005, Geronimo and Adam, Farm Worker Series.  Cash Award Gold Rosette and Purple Rosette, Art Competition, Yuma, AZ 2005.  Luz, Farm Worker Series.  Purple Ribbon, Art Competition, Yuma, AZ 2005, Jorge, Farm Worker Series.  Outstanding Ribbon: Fine Art Competition Yuma, AZ 2004, Yuma Eve, Farm Worker Series.  Grand Champion (Cash Award) and Outstanding 2003: The Weaver Outstanding, The Green Eyed Girl, 2003 Outstanding: My Daughters and Angel, 1990s.  Three Cash Awards for Costume Design - Yuma Country Fair. First Place: Frida at Peace, 2003 First Place: Frustration, 1990s. First Place: Blue Moon, 1990s.  Second Place: My Friend Hong, 2003.  Second Place: Laura and Ashley, 1980s.
Next Endeavor:  Yuma Farm Worker Sculptures Series #1, and The Fruitful Yuma Valley, poetry, short story, poetry, and art book.

Proudest Moment as an Artist:   Selling my nine portraits in the Yuma Farm Workers’ Series to a Yuma Business man in Yuma.  In addition, painting various commissions for individuals throughout the USA.

Platform:  An advocate for peace for all peoples of the world.

Favorite Quote:  “Man is nothing without a meaningful purpose.” . . . Pamela Carvajal Drapala


In my Garden

Geronimo 

Cathy A. at St. Thomas Mission 



Watermellon from Yuma Farm Worker Series Drawing 


In my Garden #2

Tuesday, July 11, 2017

Day 159: Kyle Rafferty

I’ve been drawing and painting representationally from direct observation almost daily for the past 4 years, and have been an art teacher and mural painter professionally in the past.  I am acting Vice President of the Arizona Plein Air Painters.
I’m an avid backpacker, so I’m naturally drawn to painting the landscape outdoors.  I’ve been juried into various plein air events in New Mexico and Arizona, and will continue to enter a 2 or 3 national events each year.   Currently, I'm acting Vice President of the Arizona Plein Air Painters.

Painting from life, especially outdoors, is a union between focused attention
 and passing time.  It’s in these windows of meditative presence of mind that I find the true value in painting.  The object that is produced is evidence of an important aspect of what it is to be human – and one that is easy to lose sight of in our time and culture:  being awake to each passing moment.





Jade Buddha

Nordic Center Study

Nordic Center Study 2



Parker Canyon Waterfall

Two Turnips

Monday, July 10, 2017

Day 158: Diane Lenay Garrett Black

I am a contemporary artist "madly" experimenting with Acrylics, Mixed medium, Pastels, Watercolor, Egg Tempera, etc. and currently am obsessed with the effects of animal glue and acrylics.  Most always there will be something "nonsensical" on the backside of my paintings.  My works was high-lighted in a two week Solo show at The DeGrazia Foundation – Little Gallery Tucson AZ and I am a forensic artist. 
Email: Sofinee@aol.com
Website: www.sofinee.com
AZ Forensic Art Association: http://azforart.com/diane-black/

Camelback Painting

Front Tulips David

Storm Over Tucson

F Red Mt Lower Salt River


Backsides of Paintings

Front Side: Smokie, Back Side: Danse


Back of Painting: "Rising"


Sunday, July 9, 2017

Day 157: Ken Boe

Ken Boe is a member of the community of greater Bisbee Arizona. Previous to that, in Arizona, he's lived at Thought Crime in Phoenix, The Grand Canyon, waiting tables, and Miami Art Works in Miami Arizona, where he was a founding member of the open source-like Miami Loco Arts Festival. He also worked in Yellowstone National Park for over 20 seasons. Originally from Evanston Illinois, with one of the best public school arts programs in the country, he then attended the School Of The Art Institute of Chicago on scholarship, later graduating from SIUC. Ken Boe is an accomplished experimental painter, poet, and playwright.

"Here at my art compound, over looking Mexico, I've over a ton of art supplies of various natures that I work from. I'm engaged in what I call "Counter-Realism" which is kind of a spin on the term counter-intelligence. I see that we are constantly barraged with a lie, often called realism, in all facets of the modern consumer and aesthetic life. 

I deconstruct the techniques of common art practice, and digest them in my own ways. For instance, what is content? On a can of soup, it's the ingredients. In the arts, it's often assumed to be story. But story is just one ingredient. All the media, such as oil paint versa acrylic paint, are sentient content as much as "subject", though only the most experienced art collectors, curators, or artists consciously notice this. Unconsciously we probably all notice this. And then there are all the other techniques of an artist, as small as a particular way of holding the brush, or how I paint with a whip on occasion; these things, too, are part of a work's content. So how one approaches our societal myths of realism really give you away at this level of being an artist."


Show Down, Show River, Oil and Graffiti Marker on canvas 60X48 


"I have several art studios and places for writing poetry around my property. Like seasons, they have their own weather. Their own moods, their own materials, their own content. While it's all a bit of a mess, maybe that's the ambiguity that glues it all together. Here are a couple of related ideas:



1. Hang tight, sharp, perfectionist artwork on a rough crooked wall, such as an old brick wall. Hang rough chaotic artwork on a smooth wall, such as a new wall neatly drywalled and painted in an organized home or office.



2. Artwork should not be redundant with its environment. Do not have paintings of food at a restaurant, for instance. Artwork provides a kind of subconscious extension to the consciousness of an environment. It is an expansiveness, at least for bright people who will engage each other in that environment intellectually, emotionally, imaginatively. It is the synchronic vocabulary of our time together as the environment we share is the language we share."  



Ken Boe In Studio

"Over the last 30 years or so I've developed various original techniques, or techniques morphed out of various traditions, ideas, uses of materials, and processes. Some of these are series of works, you could say, in the natural pattern to focus within certain perimeters. Each of these has to go through its own evolution. The long view of this is that only after many years of these explorations will the higher level of evolution take place which I am entering now. That is the level of hybridizing all my previous techniques and materials projects, languages, and experimentation.

In this series I am building into permanent frames into a combination of plasters, sometimes experimental frescos, with found objects, shadow work, waxes and tree resins, and oil paints. I am not trying to tell the viewer what to see but create a portal for your own imagination. In this work it was interesting to witness much of the audience seeing a vagina, while others seeing a path or a portal."

Emergence, Fast and Slow from Shadow Effigy Series
"with this large canvas, I'm using my whip painting technique, which often gives a sense of "abstract-expressionism". Technically, I liken the whip painting as "action print making." Often done with oil paints, in this variation I actually whipped the canvas with a gluey "gesso-grosso" or plaster. Over this I applied a clear bees wax, and over that oil paint, which then is moved around with heat. The rest of the work is oil paint and graffiti marker. It is a hybridization of techniques on the way to where I am going as an artist, yet a significant work in its own right."

Mysterium Tremendum Oil, Encaustic, Gesso-Grosso and Graffiti Marker on Canvas, 60X48 

Ken Boe by Paintings
Ke
 "You can keep in touch with what I'm doing at www.kenboe.com If you are interested in my poetry, there is a podcast you can link to, you tube videos, and a fundraiser I am doing where you can contribute ideas to my poetry where I've also developed many of my own techniques and approaches to "content". Currently living on less than 300 dollars a month, your participation will go a long ways. If you've enjoyed my ideas so far, there is much more of my kind of thinking as you scroll down on the blog-like format. Feel free to contact me so we may continue the discussion. And please come visit Bisbee, one of the coolest places in the state of Arizona. You may also learn where I'm showing in Bisbee at my website." Ken Boe

Saturday, July 8, 2017

Day 156: Beth Shook

Beth Shook was born on Christmas Eve, 1963 in Jeanette, Pennsylvania. Still, she considers herself a native of the southwest, having lived her most reckless and influential years in El Paso, Texas. Growing up in El Paso, she discovered a love for history, culture, the border and the desert. Nothing beats the smell of rain on the hot desert in summer.
Ms. Shook attended the University of Texas at El Paso (UTEP); initially majoring in English literature and fine arts. Just eighteen hours shy of completion, she dropped the English degree for lack of time and money. She earned her Bachelor of Fine Arts from UTEP in 1985. Under the instruction of the most accomplished professors, she developed skills as a craftsman, found a love for clay and a near obsession with the drawn line. That drawing obsession turned to compulsion as the clay became the canvas during graduate school at Arizona State University (ASU). A brief exposure to printmaking processes as an undergraduate would work its way into her clay. Indeed, that near complete English degree didn’t go to waste as the work became increasingly more narrative. Those lines developed into images. The images led to stories. She conferred her Masters of Fine Arts in ceramics from ASU in 1990.
Ms. Shook’s work is motivated by her faith in Jesus Christ and the point at which it intersects with life. Though sometimes appearing disconnected, they create one story – autobiographic, adopted into her life, her narrative. Each encounter elicits a reaction to communicate to others. Because she is assured that her world view is not singular, the narrative becomes allegory.  Others are invited to join her story, fully aware of potential conflict and distance as well as comfort and familiarity.
She continues to draw on clay, whether compulsively or obsessively, to tell her story. There is nothing better than to share your story in such a way as to find connection with another person, to come to some level of understanding. Well, nothing except maybe the smell of rain on the hot desert.
http://www.bethshookart.com 

     Undone In The Pursuit of Wild Hares, 2013 clay, wood, found objects   39x45x4

      Undone In The Pursuit of Wild Hares – detail

      Why Do You Make So Much of Me?, 2015clay, wood, found objects     

Why Do You make So Much of Me? - detail