Paco Pomet and Devin Leonardi

Two artists exploring the monochrome - Paco Pomet (another tip by Wes Freese) and Devin Leonardi.

Paco Pomet, Storytelling. Óleo-lienzo. 110 x 130 cms. 2008

Paco Pomet, Ocupación. Óleo-lienzo. 110 x 130 cms. 2008

Paco Pomet, The searchers. Óleo-lienzo. 70 x 90 cms. 2008Paco Pomet, El regreso. Óleo-lienzo. 120 x 125 cms. 2006

Devin Leonardi, Fording the Rappahannock, 2007, Acrylic on paper, 14 1/2" x 16 1/2"

Devin Leonardi, Wind-in-the-Cedars, 2006, Acrylic on paper, 36 3/4" x 36 3/4"

Devin Leonardi, Doe Run, 2007, Acrylic on paper, 11" x 15"

Devin Leonardi, The Plains of the Bay, 2007, Acrylic on paper, 37" x 46 1/2"

The work of Patti Oleon

I found Patti Oleon's work at Freese blog - run by Seattle-based artist Wes Freese. Wes has posted an insightful interview with Oleon and I'd recommend heading over there to read through it. Oleon talks about her concepts and process and expands upon the mood or tone she is conveying through these exceptionally rendered works. These are paintings I wish I had done:

Patti Oleon, Windows and Mirrors, 2008, Oil on panel, 43" x 30

Patti Oleon, Library I, 2008, Oil on panel, 30" x 47"

Patti Oleon, Blue Room, White Windows, 2008, Oil on panel, 40 1/2" x 30 1/4"

Early Simeone

Suitcase 2003, Inkjet, 24x40 inches

A Chart with Peaks and Valleys 2005, Inkjet, 45x76 inches

Record Cover in a Flash (Air Supply) 2006 Inkjet, 28x28 inches.

I found these landscape variations by Early Simeone at Regina Hackett's Another Bouncing Ball blog, following a link discussing the worth/usefulness of a MFA degree at Freese. I think they relate to another post I was reading at Edward Winkleman's blog regarding pluralism in the visual arts and the age-old artist question of cohesiveness. As I see it, these three works are cohesive in that they all explore a similar topic through multiple visual avenues. I've posted about the concept of a 'body of work' vs more inconsistent/eclectic approaches to art making before - it is a frequent topic of discussion among artists. The topic inevitably returns to whether we are trying to develop a "style" or whether the stylistic similarities should be secondary to concepts or ideas. In my education, I approached most works with a series or show in mind - carefully considering how each would relate to the others formally. Of course formal cohesion can become a bore - as too much of anything can be in painting,interior design, fashion, film, etc. Over time I have been approaching individual works more individually, aiming for the tone and/or concepts to bring cohesion to the works.

Box Painting

Fellow cardboard box painting enthusiast Wes Freese painted this:

I painted this :

Nathan Abels, (untitled), 20x16" Acrylic and Mylar on Panel