Mixed Media Art

Artists Describing Their Art:

Becky Soria - Subject matter in painting is merely the trigger that allows the expression of something more profound, unconscious and possibly hidden even from oneself, and therefore all inclusive, so viscerally immanent to humankind R. Alonzo Totems beyond Patriarchy May 2014 Nature has been qualified as a female organic form by most ancient cultures, but for the last millennia or so, the world has been primarily perceived and shaped by the masculine side of the species. Our recent history however has seen a trend towards a natural reversion to a feminine bias, with women becoming increasingly more crucial to all aspects of society. These works serve to remind us about these issues and others that we continue to face the world while reinventing the female figure as an emblem for current conditions and a new Totem for the future. The juxtaposition between the representations of the animals and plants in compromised an ailing conditions and the female form that seems to swallow and revive the life- infused aspects of her creation, render a sense of hope for a future in which the maternal provides a healing force to an ailing planet. Signs. Symbols. Sentinels February 2, 2013 The works of the present ...

Rhoda Taylor - Every day I work in my studio and every day I look forward to creating artwork. Painting is my passion.... I wouldn't know what to do without it. The studio that I work in is situated on the grounds of our house in beautiful Southern Ireland, surrounding me are the mountains with their soft mists, the rolling hills and ancient coastline, it all fills me with happiness and inspiration, I can gaze from my window at the amazing views, the Atlantic ocean, fields, cattle, birds and trees, this truly is a mystical and magical place. Over the years I have worked with various mediums, glass painting, silk screen, oils, pen and ink, gouache and watercolour, but my ultimate choice is my pen and ink work which I truly adore, I know I can put into the paintings a tremendous amount of detail that would be almost impossible using another medium. I am fortunate to of had a lot of my work purchased and exhibited worldwide, England, Ireland, France, Germany, Malta, Hong Kong, Vienna, Japan, and America, with works including Portraiture, Design and Illustration, not to mention the countless private commission requests ranging from transforming memorable photographs into paintings for ...

Stephen Mead - In the early 1990's Stephen Mead's poems began appearing in such journals as Onionhead, Bellowing Ark, and Invert, but upon moving to Provincetown, Mass., Stephen decided to concentrate more on visual work. It was in the year 2000, after moving back to NY, that Stephen started seeking publication again for both his writing and his art combined. Since, then, thanks to the wonders of the World Wide Web, his work has appeared internationally both in cyberspace, hard copy, and physical Gallery Space. Often the writing has appeared along side his paintings, and at other times with the text superimposed. In 2004 Stephen began experimenting even more with these poetry/art hybrids creating a series of e books, including the award winning "We Are More Than Our Wounds". From there Stephen began experimenting with his art and poems as films, at first creating slideshows with captions, and then doing his own soundtracks and voice overdubs. These DVDs are available through Indieflix.com In 2006 Stephen put this technology to use releasing a CD of poems set to music "Safe & Other Love Poems" (CDBaby.com), as well as two print editions of his image/art hybrids, "Selected Works" and "Tree ...

Muberra Bulbul - My art life that I started with realist oil painting in university years changed over time and became original. I couldnt get myself from the production of realistic work for a long time. I started to use collage technique in my years of masters, I have diversified it with watercolors and ink. I first worked on paper. Mythological stories and myths occurred in my head while making them. I tried to transfer them to my pictures. The myths had existed in every civilization, each society and faith reflected its own subjective existence. Different races and nations thought. Our essence was the same. We all believe in similar things and behave similarly. In my collages I tried to make a connection between the past and the present. I opened a personal exhibition that can exhibit their recognition. Later these collages became increasingly abstracted and turned into stains. Different painting techniques began to form tissue on the surface. In those tissues I caught the inner world of human. I, you, she or he. We have similar emotions, no matter who we are and wherever we are....

Nicholas Down - During the past few years I have had the privilege of visiting some of the most beautiful landscapes on earth including California's Sequoia National Forest, Yosemite and Joshua Tree National Parks, the red rocks of Sedona Arizona, the tough deserts of Canyonlands and Arches in Utah, Monument Valley in Navajo Nation, and of course the Grand Canyon. I was awestruck with the beauty and silences of these places and deeply inspired to create a number of new paintings and films which attempt to capture the essence of what I felt both as an artist and as a human being. I am increasingly aware of the threats to these landscapes, not just in the short term, but in the future, as the effects of climate change begin to alter rain patterns, glaciers and local ecologies in ways we are only just beginning to comprehend. My paintings are part of my extended homage to nature and are my abstract impressions of colour, mystery, and the spirit of place. My recent paintings have been hugely influenced by the winter here in New York State... frozen waterfalls, ice, snow drifts and landscapes blazing in winter hues. Technical Notes I continue to use the ...

Paulo Medina - Para mA, el arte, ha sido como una pequeA+-a barca en donde he cruzado muchas veces el mar. Una barca frA!gil y pequeA+-a, sin embargo, capaz de cruzar hacia grandes horizontes. La barca ha sido un instrumento Aotil, pero nada mA!s... La pintura es poesAa silenciosa SimA3nides Artistic experience, as a spectator, and then, more directly, as an artist, has meant for me the possibility of transcending and reaching certain spaces that are intangible, but lived daily. As a creator, to be in front of a blank canvas or a digital image to be manipulated, is to be faced with a challenge that of translating to the language of forms, textures and colors something that has not yet been conceptualized, but that exists somewhere and that I desire to capture, expressing it through those materials and tools at my disposal. It thereby becomes a kind of game, in which time disappears and one enters into communion with the aesthetic experience with its infinity of moments, which go from pain to ecstasy. Self-taught experimentation in the field of art, has been for me one of the great pleasures of life. La experiencia artAstica ...

Emilio Merlina - I was born in 1950 in the North East of Italy from a polish mother and a sicilian father. I toured the world until I was 35, then I returned to Italy and picked up again my old passion painting and sculpture. As for myself, I can only say thoughts and paintings, paintings and thoughts. Everything maybe useless, however everything is life. i?1/2The human being leaves its signs, graffiti, indian dreams and imagination. Now I only have left a few more possibilities to express the colors which are not. Only the sign, scratched, angry or brushed is the witness. The sign has passed from there and there it has lived.i?1/2 Emilio Merlina Some hear if a door opens Others hear a latch which opens or closes Others more they hear the Angel when he turns over a page of the Great Book From the novel Missa Sine Nomine By Ernst Wiechert I have words which relegate my hunger And the hunger which owns my body but which do not confine them I have words which are both my confined hunger and body By the Italian poetess Paola Lovisolo ...

Hope Brooks - I am often asked the question what is my work about which is a little like being asked what is life about because in art as in life each person must bring their own experience and provide their own answers. Quite simply my work is about life and the enigma that surrounds existence. I make reference to specific experiences or draw on visual reality to act as a frame to the broader content and people bring their own interpretations as well. When I began painting in the 60's I was focused on talking about natural phenomena that I found around me in Jamaica, such as the sea, the mountains, or the moon but I was also trying to find a language that expressed the essence of that place I called home. In 1980 I travelled to Baltimore USA and my visual surroundings changed completely. This city had none of the natural landscape but it had beautiful stained glass windows and during my year at the Maryland Institute I produced a large body of work called "Windows". This included prints as well as paintings of the secular as well as the ecclesiastical windows. Someone looking at the work once said ...

Kristin Garrow - Dream..Imagine..Inspire..Heal These words are a daily must in the life of my creations. Suffering from several disorders including Bipolar and Fibromyalgia I am constantly changing my routine to accommodate my own Art Therapy. What does this mean for you Who doesnaEURtmt like a little variety in their lives Through my works I am able to create many forms of art and utilize multiple mediums. I offer you the chance to have a piece of my world join yours in hopes it brings you as much joy as it did for me while creating. I am always trying something new and exploring my mind to give you a piece that reaches you on many levels. My work is an examination of the different paths life takes, and the ways we work through our everyday lives always searching for something. I hope to provide you with whatever you are searching for. To have that one work that truly speaks to you or simply makes you smile. ...

John Powell - Artist Statement This body of work comes from a community of ideas. My art evoke a dialogue, a message as a language I speak, to create peace in a cosmic dialogue. It speaks in the future tense in a context of time that evoke a feeling of aEUR~time passesaEURtm... The emotional and psychological content of my subject, the way the body expresses its emotion, it contextualizes the concepts of the duality of the meaning of the imagery. My style is an expression of my philosophy which becomes a language using, Post Modern, Expressionism, Latin American Tradition, Surrealism, and soft Classism. It expresses my deep awareness of global issues and is counterbalanced with my cultural heritage. My inspiration originates from lifenature, itaEURtms too spiritual to express. However, it is the same expressive energy as the work transfused between energies which awaken the realms of these energies and evoked them in dialogueaEUR| . I use a certain iconography, which becomes a language. My art has helped me to see that nothing on earth is solitary, all things are interlinked. The unique expression in my art, is an attitudelanguage of my style but is easily understood in itaEURtms emotion. My art Carries ...

John Sims - Following some thirty years working as a graphic designer and illustrator I began stone carving in 2000 and in 2002 I returned to college at Christ Church Canterbury in England to study BA Fine Art. In 2007 I went to the Cyprus College of Art to study for a Post Grad Diploma in Fine Art under the great Cypriot artist, Stass Paraskos. At the end of the course I was asked to stay on and run the Summer Schools and to be tutor on the Post Grad course. An incredible experience and an enormous influence on my work. My work now involves less stone carving more often found timber or kebab sticks My drawing in some respects has turned a full circle in the sense that prior to sculpture my illustration work was colourful but painstakingly detailed and stylised. At college I concentrated on measured observational life drawing in pencil which fed into the simple lines of my mainly figuratively based stone carvings. Whilst in Cyprus I re-discovered colour in both my drawing and sculpture. Dreams and mythology filled my waking and sleeping hours. Oil pastel and oil sticks became my favourite mediums to quickly capture these glimpses of ...

C. A. Hoffman - For me, my artwork is very personal. It reflects a lot about how I am feeling at any given time and place. I feel that art has to be on this personal level to completely capture how the artist is feeling daily, or trying to convey a certain thought or emotion at that particular moment. We all, at one time or another try to express our thoughts or ideas, whether it is to others or just to ourselves, by words, actions, ideas or pictures. If we are sucessful in this attempt, I think it shows through in our everyday work or art. I believe that one is either born to create art naturally or by learning. For me, I feel that I was born with this wonderful gift, and I try to improve upon it every day. In my photos and art, I hope to show how everyday objects and nature can capture our imaginations and feelings. Sometimes I work with an image to improve it, inhance it, or just to fuel the imagination. I truly hope this shows in all of my art. ...

Jim Lively - Whether portrayed in the abstract, realism, or somewhere in between, I am most influenced by both the beautiful and unattractive components of contemporary urban culture. Many times, one painting will reflect both components. My art tends to focus upon interesting juxtapositions of close-up images of human faces. Often, the larger images border upon realism and are caught expressing a panoply of emotions usually directed at the other images that share the canvas. Several of my recent works such as the tongue in cheek entitled "Lenin and Things" contain unlikely combinations of images such as a statue of Lenin which is dwarfed by a billboard size fashion model displaying a vacuous stare. A number of works contain both large images and interrelated small images. For example in the painting "Staring at Natalie", all the smaller images are a depiction of a collective group of voyeurs staring at a larger image of a posed fashion model. I want those viewing the painting to be the ultimate voyeur. The viewer is not only drawn initially to the larger image in its own right but also cannot help but then notice the relationship of the smaller images to the large image. Works displayed ...

Jim Lively -