Advice from a Painter: Part 3 - Kaye Donachie

Kaye Donachie, "Myself I think shall never know, how far beneath the wave I go", oil on canvas, 61 x 45 cm – 24 x 17 3/4 inches, 2010

Kaye Donachie, "Without You", 2008, Oil on canvas, 27 3/4 x 23 7/8 inches

Kaye Donachie was kind enough to write a few lines of advice to new painters in my painting class, which I will also share with you;

"This is some advice given to me that I have always followed. 'equipment is very important before even starting a painting. Always use a glass palette, always use pure turpentine to dilute paint not the cheap cleaning turps.......it destroys the pigment. And always invest in good brushes.....( a tutor once told me that you would expect a surgeon to use blunt dirty tools, so a range of quality brushes cleaned every night is essential. Finally, I would say painting is really hard. When you first start out it seems easy and the better you get it the harder it seems.'”

Thanks Kaye!

Advice from a Painter: Part 2 - Eric LoPresti

This is part 2 in a series of advice from working painters to young art students- today's guest is Eric LoPresti who just wrapped up a solo show at Like the Spice gallery in New York and has been a regular guest here at "minutiae". Eric writes,

“I like to mix colors on my palette, which enables me to be get precise with the color I want before painting it on the actual canvas. When attempting to match a specific color, it helps to hone in on that hue incrementally, by gradually adding one color to another. For example, say I'm trying to match a specific light-pink. I'll probably start with the red out of the tube, which is likely to be way too dark, then incrementally add in white until the values match. Here’s the tip: when mixing your next color, always keep a bit of the previous mixture around for comparison. In fact, as I get closer to my target color, I'll often split the mixture into two batches so I can 'undo' if I make a mistake. Here’s an image of me mixing various shades of pink to match a color on the digital printout at bottom – you can see me splitting up various stages of the pink mixture into parts so I have choices about how to get closed to the color I want. ”

“When developing a body of work, do a lot of research and see what other artists are relevant to your work. This is easy if you break it down: first you want to come up with a good set of descriptive words about your work, e.g. ‘etchings of contemporary buildings and decay’, or ‘paintings of post-apocalyptic western deserts’. Google image search that description, and start digging through the results for practicing artists. Be prepared to go through a lot of images -- good artwork isn’t easy to find. Leaving aside whether you like/dislike the works you are finding, ask yourself:

• Is this artist’s work similar to mine?
• How exactly is my work different (and would it look different to a disinterested 3rd party)?
• How can I make my work more specifically match my vision, so it doesn’t look like theirs?
• Is this artist someone I want to ‘keep tabs’ on as I go forward?”

thanks Eric!

Advice from a Painter: Part 1 - Gregory Euclide

I have been preparing for teaching painting this summer - researching processes, organizing projects, and putting together power points. While doing this it occurred to me it might be more meaningful to students to hear advice and quotes from living, breathing working artists. This starts my (hopefully) weekly blurb from a painter in the form of a tip or advice. First off is Gregory Euclide. Euclide has shown in Denver several times at the David B. Smith gallery as well as the Foothills Art Center as part of their "Habitat" exhibition. Lately he's been getting a lot of buzz because of the artwork he did for the upcoming Bon Iver album (pictured above). I asked Gregory for advice to young artists and he said,

“Read as much as you can about what you are interested in. But don't let that allow you to lose the feeling for what you are interested in.”

- Gregory Euclide

Thanks Gregory!

Guest Blogger: Black Swan

I asked artist/musician Black Swan to recommend some music and movies and here are the choices in no particular order, described as albums Black Swan "wouldn't be able to breathe without":

Music:

• Loscil: Endless Falls (Spinning via LP as I type)
• Stars of the Lid - Any piece of released material
• A Silver Mount Zion - Kollaps Tradixionales
• The Flowers of Hell - O
• The Caretaker - A Stairway to the Stars
• Brian McBride - The Effective Disconnect
• Thomas Koner - La Barca
• Seefeel - Quique
• Boards of Canada - Hi Scores, Music Has The Right To Children, Geogaddi
• Pink Floyd - Anything recorded from 1983 and back.
• Troum - To A Child Dancing In The Wind
• Brian Eno - Another Green World
• Henryk Gorecki - Symphony No. 3
• Eno/Fripp - No Pussyfooting
• Raymond Scott Woolson - Accidental Grace Notes
• Johann Johannsson - Fordlandia
• Ludovico Einaudi - Divenire
• Jonsi & Alex - Riceboy Sleeps
• Max Richter - Memoryhouse
• Ólafur Arnalds - Eulogy For Evolution
• Ryan Teague - Coins & Crosses
• Resplandor - Ambar
• Saint Preux - Concerto Pour Deux Voix
• Sylvain Chauveau - Nuage
• Childs - Yui
• Asher - And invariably the blue
• Cisfinitum - Landschaft
• Biosphere - Substrata
• Godspeed You Black Emperor - f#a#, Infinity, Lift Yr Fists...
• Deathprod - Morals and Dogma
• Sunn O and Boris - Alter
• The Body Lovers / The Body Haters
• Swans - My Father Will Guide Me Up A Rope To The Sky
• Field Rotation - Acoustic Tales
• Eluvium - Copia
• Sigur Ros - ( )
• Hammock - Maybe They Will Sing For Us Tomorrow
• Rameses III - I Could Not Love You Any More
• The Dead Texan - The Dead Texan
• Underworld - Second Toughest In The Infants
• Brian Eno - Ambient 1
• David Bowie - Hunky Dory
• Manual - Azure Vista
• Robin Guthrie - Carousel
• Pieter Nooten & Michael Brook - Sleeps With The Fishes
• Popol Vuh - Entire Discography
• Ash Ra Tempel - Join Inn
• Jobraith - Self Titled, Creatures of the Street
• Tangerine Dream - Force Majeure, Alpha Centauri, Atem
• Arzachel - Self Titled
• Ulver - Shadows of the Sun, Perdition City
• and believe it or not, Cake's Fashion Nugget. also:
  
• This Will Destroy You - Tunnel Blanket

You can catch this band playing the Larimer Lounge in Denver next week on May 25th

Films:

• Anything by David Lynch, John Waters, Stanley Kubrick, Gregg Araki or Peter Greenaway.
• The Road
• Akira Kurisowa's Dreams
• Gummo
• Julian Donkey Boy
• Trainspotting
• Sunshine
• The Box
• Salo (or the 120 Days of Sodom)
• Moon
• Requiem For A Dream
• The Fountain

Black Swan recently released a new LP available on vinyl or digital download. Listen to a preview here:

The first 100 copies of "The Quiet Divide" come on red vinyl! Order here.

I'm excited to present this list, as Black Swan has been my studio soundtrack quite regularly since discovering the first album "In 8 Movements". I even made a very ambient music video to accompany on of the songs from the first album:



Thanks Black Swan!

Found Photo of the Day

Might Makes Right

Stills from one of my favorite shows, Captian Scarlet.

Two photos

Two old photographs by yours truly. Probably 1999/2000.

Swiss Photos

I've been re-blogging quite a bit lately, which I try not to do to much of - it is nearing the end of the semester and with that and the holidays I've been pretty busy. I'm now up to 49 "followers" and I've enjoyed reading more comments on the blog lately. Here are two photos that (like a lot of what I post) are surely posted nowhere else on the net:


These photos were taken in the Swiss Alps - sent to me from a childhood pen-pal residing there.

Your moment of cute

My uncle sent me this photo of a recent visitor in his back yard. That thing is cute.

Guest Artist; Eric Lo Presti

Today's mega-post is brought to you by Eric Lo Presti - an artist whose work I came across online sometime back and have kept in contact with him since posting his work for the first time back in March of 2008. The guest posts lately have been fantastic - if you'd like to propose a post for "minutiae" send me a line at my website. I'm really excited to be able to share this with my readers:

"Thanks to Nathan for inviting me to share my thoughts on his blog. Nathan and I share a number of aesthetic interests, including a love of aerial landscape imagery, so maybe it is appropriate that I started writing this entry while on an airplane, high over the Atlantic. My wife and I were returning from a trip to Denmark, where we attended a friend’s wedding, and London, where we checked out some East-end galleries. So my head is full of Danish modernism, Brick-Lane curry, and the art I saw on my travels.

Now that I’m back in NYC, I’m in crunch-mode, starting the final few paintings for my upcoming show (entitled Fade, opens Sept 11 at Like the Spice Gallery. This work is about the desert, and my feelings about growing up in the waning aftermath of the Cold War. I’m using aerial imagery of desert weapons sites, e.g. Nevada Proving Grounds and the Hanford Site in Eastern Washington. I’ll start out with a couple shots from my studio, so you can see where I’m coming from:

Rattlesnake Mountain, Oil on linen, 2009. 60 x 35 inches

Yellow Plume, Oil on linen, 2009. 60 x 35 inches

(seen in studio below Yellow Plume; Laser Interferometer Gravitational-Wave Observatory, Oil on linen, 2009. 60 x 40 inches)

My studio, last I looked, including a blank canvas waiting for my input. Following are my thoughts, in no particular order…

1) Color

Photographs of Hanford Site by EL

The underlying theme in all of my work is color, and the colors I’m thinking about now are the colors of the desert steppe in southeastern Washington State, where I grew up. The steppe is huge, punishingly hot, and desolate – all of which I find beautiful. Two interesting things about the steppe around my home town:

• The dunes were formed by massive cataclysmic floods

• It is home to the Hanford nuclear site

In other words, the landscape was formed by two major traumatic events, one natural, the other man-made. The pictures above give you an idea. The white structures are giant sand dunes kicked up by the last massive flood around 14 thousand years ago. The natural colors revolve around the grays of the sandy landscape, with ochres, atmospheric mauves and the crystal blue of the desert sky.

2) William Turner
J. M. William Turner (1775-1851), A Stormy Coast, circa 1820-30, Gouache, pencil and watercolor on paper, 27 x 45 cm, Tate, London

J. M. William Turner (1775-1851), Sunrise, circa 1825-30, Watercolor on paper, 33 x 47 cm, Tate, London

While in London, I was lucky enough to catch a show at the Tate Britain which matched up the more abstract work of William Turner with Marc Rothko. You can’t talk about color in the landscape without talking about Turner, known for abstracting his vistas into vibrant, impressionistic swirls. I was particularly taken by a couple of pale but lively watercolors.

3) Gerhard Richter

Gerhard Richter, Mustang Squadron (Mustang-Staffel), 1964. Oil on canvas, 34" x 59", The Museum of Modern Art, New York.

Gerhard Richter, 866-2 Abstraktes Bild, 2000, Oil on canvas, 78” x 63”, Miriam Goodman Gallery, New York

I work simultaneously with representational imagery and abstract fields of color, and it won’t surprise any of my peers that Richter is a big influence. Richter demonstrated that one could combine these two distinct and seemingly oppositional aesthetic modes within a consistent conceptual framework. My work essentially builds off of the same idea, although, of course, my paintings come out looking quite different.


3) Dark Sun: The Making of the Hydrogen Bomb, by Richard Rhodes

Image of sealed submarine reactors by EL

While researching my show, I read this outstanding book. It tells the genesis story of the development of thermonuclear weapons in gripping, dramatic, and sometimes terrifying detail. Some of that development took place at the aforementioned Hanford site; engineers at Hanford created the plutonium for the Nagasaki bomb and for the US arsenal throughout the 1950’s and 60’s. Although the site was switched over to environmental cleanup in the 80’s, the remains of the nuclear hey-day are still scattered throughout the landscape in the form of decommissioned reactors and waste burial sites. Above is an image I took of sealed submarine reactors being buried in the dunes, an indication of the vastness of the cleanup/decommissioning effort.

4) Department of Eagles – in Ear Park


The sparse, low sound of this album became something of a soundtrack for me in the studio this year. I like the DoE’s directness, and their use of a few rich sounds within simple, minimalist compositions. Music can be hard to describe in words -- the sound either hits you or it doesn’t. In that way it is a lot like color.

5) Chromophobia , David Batchelor


David Bachelor, Eyeball 4 (pink), 2007, 30 pairs plastic sunglasses, 30 cm diameter, Wilkinson Gallery, London

If you’re an artist thinking seriously about color, you are going to love this book - Chromophobia, by David Bachelor. The basic thesis is that color has been marginalized by western culture, in favor of a puritanical concept of white or whiteness. (Think of the supposedly neutralizing aura of a white cube gallery, or the Orwellian quality of the interrogators bare white light bulb.) I’m still caught up in a quote from the second chapter, where Batchelor quotes the 19th century French Critic Charles Blanc:

The taste for colour, when it predominates absolutely, costs many sacrifices; often it turns the mind from its course, changes the sentiment, swallows up thought.

Blanc seems to have meant that comment negatively, that color is a perversion, a deviation from some kind of true path in civilized art (no doubt represented by the linear, narrative styles espoused by French Academies at the time). But to me that quote sounds like a step in the right direction, especially the ‘swallows up thought’ part. After reading his book, I was gratified to see the chroma-friendly sculpture by Batchelor, pictured above, which is made out of bright pink plastic sunglasses.

6) Tillman Kaiser

Tillman Kaiser, Untitled, 2009, Tempera and silkscreen on canvas, 55 x 40 cm, Wilkinson Gallery, London

Tillman Kaiser, Untitled, 2009, Tempera and silkscreen on canvas, 55 x 40 cm, Wilkinson Gallery, London

I’ll round up this blog entry with some work I saw Wilkinson Gallery, in London’s East end. The artist is Austrian, educated in Vienna, and hasn’t quite yet made the jump across the pond. His paintings somehow manage to reference Salvador Dali via an angular, modernist style which reminds me of Mark Grotjahn. Anthony Wilkinson was nice enough to pull out a couple of recent works on canvas. The first image is of two of the smaller paintings leaning against the gallery’s back-room windows, which overlook the street below."

Eric LoPresti is an artist living and working in New York. More works from his upcoming show are available on his web site at www.ericlopresti.com.

Thanks Eric!

Guest Blogger; Gabriel Liston

Gabriel Liston in the studio

I've asked a few friends to contribute to my blog, and we're going to kick things off with Portland artist Gabriel Liston. My first contact with him was actually a result of this blog - an old post of delft painting. You can find his work at Plus gallery here in Denver, where he currently has several very reasonably priced hand-pulled etchings ($40-$100 - based on size) as well as some rich, beautiful oil paintings. I highly recommend picking up some of his work - they're even better in person. For more pics of the prints, you can check out his studio blog and contact Plus for purchasing information. Gabriel took some time to share a little about his work, his influences and works/projects in the making.

Liston writes, "I've developed a habit of saying, when asked, that I paint pictures of children taking the world apart from the inside out. Whether true or not, it's a good definition to try and live up to. I like working from a mash of drawings and oil sketches. I avoid using photos or wholesale invention."

To better understand his process of painting or what he calls, "domestically picturing a life of domesticity" the folks at OPENWIDEpdx paid a visit to the Liston studio yesterday and snapped some photos of what's currently on the easel:

Studio view of "Moonshiner" (working title), Oil on canvas 36" x 36" 2009 in progress (just about there)

(Working title) "Moonshiner", Oil on canvas 36" x 36" 2009 in progress

"With the rolling of summer I seem to have entirely forgotten what my influences are or who I'm supposed to be looking at. I have one anchor, influence wise, here (Breughel's winter scene). Someday maybe I'll visit it in person. I was in Denver last month and saw Sharks Ink at MCA just before it came down. I loved the Kushner and Grooms and got a much better sense of Chagoya. On the Western Slope, I went to see Jon Rietfors new work. Here in Portland, I'm waiting for Lli Wilburn's show to open at Froelick. Also my thoughts, and our conversations here at home, keep coming back to Brennan Conaway's short film: Trajectory and other work he's been doing with The Center for Land Use Interpretation. "

I asked Gabriel what he's been listening to in the studio lately and he said,

"Audio-wise, I'm in a technologically dysfunctional limbo. When I paint and draw on location, I don't use earphones, so there's just local noise or whatever old song is ear-worming through my head. In the studio, I listen to too much public talk radio, because I can't get KEXP, and the KBOO signal is fuzzy. In Denver, I was tuning to 96.5. Neither computer nor turntable reaches the studio so I've had the Stumptown Printers compilation Pressing Sounds in the little cd player. It's mostly great, but ironically, I lost the track listing. I did buy a Little Wings album for D's ipod to accompany our drive to Colorado. I think what I need is a live band just sort of permanently rehearsing in the living room (got more bands per square block here in Portland already, I know). I like it when my neighbor blasts soul classics on his back porch, which is by the studio window."

"I spent the winter and spring experimenting with etching and monotype as an artist in residence at Atelier Meridian. In June I made odds and ends for John Brodie's The Store for a Month. I also showed some of my recent etchings at a quick Grasshut Corp show to benefit the IPRC, Zine River.

Soon after, the Froelick Gallery showed four small plein air oil paintings as part of their Town and Country: Oregon at 150 show. Though I make those plein air paintings as part of the larger process, I hadn't shown them in a long time. I think I'll keep those a little more visible from here on out, they don't depict children in action, but they always show somewhere playable."

July 2008 plein air watercolor by Gabriel Liston

"My other recent projects include two new glass works I'd made with Spiro-Lyon Glass Studio in Carbondale. I hope to do more on my next visit.

Currently, I'm preparing to install work for the Manor show at Portland's Milepost 5 in August. I went over and picked out a room last weekend. It's an old brick retirement home, not nearly refurbished, so a very interesting place to arrange paintings, open closed doors, whistle, or wander about by yourself. I picked a high corner room with white lace curtains. I'm still working out the context I want to create. I may take part in a plein air show in the Columbia Gorge in August as well.

While in Denver, I met with a friend to collaborate on screening t-shirts from my relief prints, they're looking pretty good, we just need to figure out what brand of shirt to print on. Here's a proof - there may be some at Plus gallery soon..."

"Upcoming? There's a popular bluff here between a residential and industrial neighborhood that I'm trying to make sense of. It functions like culverts do in Colorado suburbs: a not-quite-planned, not-quite-regulated, but incredibly fun greenspace. I'm visiting and sketching it as well as the notions I got on the last trip back to Colorado and our repeated trips to the coast.

I'm also finishing up and trying to title that moonshiner canvas - like the others it's about the visual phenomena of place matched with exactly-what -are-you-doing investigations of young people. Will it give adults and younger a quiet matrix to reckon out their own life challenges upon? I'm not so sure, but I really like making these things. This week, the kids and I will hang out at our favorite grocery store watching Chris Johanson paint a big mural. No firm plans for the fall, just whispers."

Gabriel Liston, "We'll be rich for the rest of our lives", 36" x 48" oil on canvas

Thanks for sharing Gabriel.

Found Photo

I picked this up at the flea market yesterday.

New Work from Jason Stopa

Here are four very fresh paintings by my friend Jason Stopa who is currently a grad student at Pratt. His work has increased in scale and skill dramatically this year and I'm really looking forward to what comes next for him.

Following. Oil on Canvas. 2008

Static Feeling. Oil on Canvas. 2008

Lifering - 4' x 5' Acrylic and Oil on Canvas

Ambulance - 4' x 5' Acrylic and Oil on Canvas

Exclusive Interview: Leah Giberson

Slide, 8"x 8" x 2"Near You (one), 6x6"

Approaching

Here's another minutiae exclusive interview with Leah Giberson:

Leah, I came across your work through Tiny Showcase, where you also found mine. We share a mutual fascination for suburban homes as subject matter. As you have mentioned on your site, you did not grow up in suburban surroundings. Would you care to elaborate about how you became attracted to suburban settings, or perhaps how your work has evolved into choosing these subjects?

I was raised by artists in an old farmhouse deep in the woods of NH. The suburbs were both foreign and intriguing to me - I imagined that was where normal people lived. I coveted these imagined worlds of wall-to-wall carpeting and air conditioning, where the kids were allowed to eat sugar cereal, watch lots of TV and had rec rooms to play in. I was sure that the moms kept clean houses, cooked with microwaves, styled their hair and wore make up and the dads kept the lawns perfectly mowed, taught their kids to play sports and went to an office to work. Among my many naive assumptions, the biggest was that the families who lived in these homes had no worries and their lives were predictable.

There seems to be an undercurrent of optimism or idealism in your works – through the clear blue skies and manicured lawns especially. In your statement, you mentioned that you’d like to “imagine what its like to call these places ‘home’”, and that it might not be what it “appears to be”. What do you mean by that?

As an adult, I now realize that a perfectly groomed lawn or manicured hedge is not a reliable barometer of happiness within a home. It is this tension between the seemingly intact clean surface and the discord pushing from beneath or looming off stage that I am drawn to in my own work and I suppose, in my own life as well. I am a worrier by nature and am always on the lookout for inevitable disappointment and loss in my own life. Strangely enough I am also unreasonably optimistic and hopeful and am the first to admit that I have very selective memory, focusing more on what I want to remember and minimizing the harder times. It is this kind of editing that I embrace in my work. None of us can remember every detail of our lives, so we embellish some moments and ignore others in an attempt to make sense of and find meaning in our experiences.

I see that your works incorporate more than just paint on canvas – listing digital prints and embroidery thread as materials. Could you tell us more about your process?

I begin with an archival print of a photograph, which I adhere - either whole or cut up - to a loose piece of canvas. I paint out much of what would give the image a geographic specificity and distill the elements to what feels essential to me. When the painting is very close to completion, I sometimes embroider sections along the edge of the canvas before adhering it to a wooden panel. I then continue the painting beyond the edge of the canvas onto the wooden surface, including its sides. The result is a very textured surface full of surprises as you get up close to it. By the time I am done, there is very little (if any) of the original picture left visible. By painting over the original "fact" of the photograph, I simplify and cover up some parts and emphasize others in an attempt to unearth an arguably truer underlying story.

Like much of my own work, you also choose to limit or eliminate human subjects in these suburban settings – what do you say when people ask you questions like “Where are all the people?” (A question I am also asked frequently)

In reality, these people are rarely there outside their homes or places of work. I don't paint them out. I guess they're probably inside or out running errands. I find most of these scenes heartbreakingly lonely. Even when there are people in my images, they are rarely truly engaged with one another - rather it seems almost coincidental that they are there at the same time.

Who or what are your artistic influences currently?

I grew up looking at the work of Richard Diebenkorn, Gorden Matta Clark and Ed Ruscha and find that their work still resonates with me. These days, however, I find the most inspiration by looking at the work of photographers. Carlo Van de Roer and Alec Soth are couple of my favorites at the moment, but I've also discovered some really incredible work on flickr and have actually started a series of paintings based on photographs that I've found there. With the permission of the photographers, I've made paintings based on the work of flickr members, Brad McMurray, Dennis Wade, David K, George Pollard and Kitty Dukane and am working on pieces by Manny Diller and Bully Rook.

Finally I must say that your work hits a deep emotional chord with me. If I flew above the houses in my own paintings, I imagine they would look something like your images. They are so lonely and brave as they cling to one another by a the road or whatever other tenuous connections they can find.

Do you have any upcoming shows our announcements you would like to share?

I am pleased to announce that I will have another print coming out with Tiny Showcase. This time it will be one of their four seasonal prints for the winter. Each of the four prints will be available as an open edition, but available only for a limited amount of time. The collection will be unveiled the day after Thanksgiving, when they will announce it first (as they do) to their email list. http://www.tinyshowcase.com

My solo show at Office PDX in Portland just came down, but I have a few group shows coming up.

Dec 2- 28, 2008
Grand Small Works Show
Fuel Collection in Philadelphia, PA
http://www.fuelcollection.com/

December 12, 6-11pm
Design Nearby one-night-exhibition and sale
Pink Comma gallery in Boston
http://www.designnearby.com/
http://www.pinkcomma.com/

February 2009
Enormous Tiny Art V
Nahcotta in Portsmouth NH
https://www.enormoustinyart.com/
nahcotta.blogspot.com/

July 2009
2 person show
Nahcotta in Portsmouth NH
nahcotta.blogspot.com/

Julian Lee talks about his work

Julian Lee, Vorstadt, Mixed Media on Canvas (135 x 105cm)

I had some recent correspondence with Frankfurt, Germany-based artist Julian Lee that he allowed me to pass on. Keep an eye on his site for new works. I've blogged about Lee's work previously and he told me a little more about it, writing;

"Like most Artists I’m not exactly sure what I paint, as what I think they mean can mean something entirely different to someone else. One of the wonderful aspects of the language of painting.

Roughly speaking though, I just start in the studio painting, mostly from memory, increasingly so, or occasionally using photos as reference points for subjects such as nature, or the way a particular building looked etc.

Then the paintings go through all types of transformations often ending up entirely different as to what I imagined. The hard work comes (as I’m sure you know) in trying to objectively analyze the work as to what level it communicates itself.

As for the content. The closet I can come to clarifying what they are about, is what the great Willem de Kooning once claimed as his slipping glimpses. The moment the minds eye makes a snapshot of a place or situation and stores it away in the subconscious. That first de-bunking vision is something I search for constantly and try to bring into the work.

A lot of people note in my work of a certain kind of angst, or solitude, which I take as my own search for some spiritual understanding of the troubled world we live in today.

I do like to leave the works open to interpretation though..."

New Works by Bill Amundson

New works from Denver's own Bill Amundson (not even on his website yet!). Bill shared these pieces with me recently and I'm happy to be able pass on the sarcasm, wit and visual pleasure of these drawings with you. Be sure to click on the images - the details are great on these works:

SIGNS WITH HOMES, 18"h by 36"w

HOME WITH BRAD PITT BILLBOARD, 27"h by 26"

TREE WITH HOMES, 18"h by 40"w

SELF PORTRAIT WITH PRICEY MOUNTAIN HOMES, 44"h by 40"w

LANDSCAPE WITH STORE, 32"w by 26"h