Renegade is a piece that was sculpted from life. I watched the horse run at full gallop and the energy he gave off was both electric and powerful. I wanted to capture this emotion in the sculpture, and allow for a sense of movement. As I sculpted, I was constantly grabbing my clay from the ground which was covered with rocks and hay. The texture of the piece was rustic and I let emotion guide the process. My goal was to capture the poetry of the moment and only say what is necessary to express the energy of the horse.
One More Time is a piece about joy. I have sculpted a lot of different animals, from horses to ravens. Each animal gives off a different type of energy and emotion. With dogs I have found they always exude happiness and joy. For this sculpture I worked with a dog who wanted to play the whole time. I wanted to capture that essence, and energy of play, and the result was a dog waiting for the ball to be thrown again.
Diana of the Hunt; Forest Lawn Memorial Park, Hollywood Hills
Oil on panel, 40" x 30", $25,000
Creating a three-dimensional work of art in a two-dimensional format is a play of light and shadow that I enjoy. The mythological subject of Diana as an independent woman of nature is also intriguing. I have always admired the composition and delicacy of this multi-figure marble sculpture created by Charles Cassou in the 1920s, which was purchased for Forest Lawn by Hubert Eaton from William Randolph Hearst.
Out of the fluid life of these fields, in constant change to serve the agricultural needs of millions, a visual pattern of recurring elements emerges. Fields and their edges of separation, the arteries that feed crops, the arteries that carry away their product, the shadows cast by trees. It has been my challenge and delight to read, and reflect in paint, arrangements of these recurring elements, combining them in formal compositions like a writer combines the building blocks of a common language. The resulting narrative on canvas is a departure from, and extrapolation of, the landscape which reveals its essence.
My inspiration usually comes from the least obvious sources, places and things often ignored or overlooked. In their simplicity and complexity, these subjects challenge me from beginning to end, and it is by living up to their challenge in the intuitive journey of painting that I arrive at the surprising result.
In Ecola State Beach, Oregon, I was lucky to catch this quick break in the storm. The sky cleared up just enough to completely flood the ocean surface, which created a blinding glass-like appearance and a high-contrast scene. I was compelled to paint this scene because it beautifully depicted my emotional state. I worked in thin layers of oil paint to create a sense of depth and subtle value shifts.
This intimate moment between mother and child, all clad in white, is about tenderness, joy, protection, and most of all, love. I began working, and the profound beauty of this warm sunlit scene, with the grace-note counterpoint of cool dappled shadows, seemed to paint itself. I remember, as a young mother, placing little feet on the ground for those first tender steps. And now as an artist, I am privileged to paint them.
This bronze sculpture was inspired by a Hellenistic marble carving based on the shape of a shell found in the Mediterranean Sea know as Pelican’s Foot (Aporrhais Pespelecani). The marble version was also a vessel used by temple priests for pouring ritual libations.
This painting was based on photo references I took at Heritage Park in Los Angeles with the California Art Club’s Paint Out in February 2019. I made a series of paintings of this model with the theme “Heritage Renewal.” When creating Enchanting, I tried to portray the image of the model in her gorgeous hand-made Victorian costume as a character from the literature I’ve read, and movies I’ve seen about that period of history.
I had made a plein air sketch of this pool of water in the rocks along the coast at the Cabrillo National Monument and loved the color. I decided to expand the scope of the subject and make a studio painting from it. The finished painting has a spiraling composition and sparkles with its complexity.
I saw this scene while attending a gala for the Crystal Cove Alliance. It was early evening, and I was enjoying the display of art. My attention was drawn to the warm evening light on the cliff. The scene stayed in my mind, and one evening I decided to go to Crystal Cove State Park to paint this. Arriving after five, the ranger still in the booth collected my discounted fare. In the old days it was free after five.
The subject matter of this contemporary painting falls into the realm of cyberpunk and sci-fi culture. I collected and hid Easter eggs related to electronic and metal music, movies like Blade Runner, and classic anime OVAs.
I am a fan of retrowave, darkwave and vaporwave music, particularly bands like Perturbator; I see this piece as no less than a song. Although there is a continuation of a narrative, my main idea was to show the light and color boom, not merely what is happening between the characters of this painting.
This piece was done in memory of the late Rutger Hauer.
This is a still life depicting various 2020 pandemic-related items while living in the modern times of global fear of coronavirus, and lockdown. Set in my garage to paint, the things in this piece are: a Cold War-era Polish gas mask, an N95 respirator mask, a buckler shield, a roll of toilet paper with a dagger stabbed in it, two bullets, an American flag, chains, a Trader Joe's can of black beans, and a book: "Survive the Economic Collapse" by Piero San Giorgio.
My painting takes its title from the New Testament, 2 Corinthians 3, and refers to the freedom we have when we are saved by faith in Jesus Christ.
No matter the tyranny or injustice we face, when we walk with the Holy Spirit, we have our true liberty given to us by the Lord. We may traverse rocky paths, yet we still perceive His Glory!
I want my paintings to show those fleeting moments of time where light, color, form, movement and atmosphere come together in that one beautiful instant where we feel a little closer to nature and the magnificent beauty surrounding us.
Monastery Beach is a transition point connecting Carmel River Beach at the Village of Carmel and the rugged coastline of the Point Lobos State Natural Reserve. The gentle sweep of Carmel River beach contracts strongly with the ruggedness, and heavy surf, of the nearby point’s Devil’s Cauldron – two different worlds. Sea otters and sea lions are frequently seen among the kelp near the shoreline, while whales pass offshore. Monastery Beach is usually quite calm and overcast, with a marine layer in the morning hours, like depicted in this painting, while the afternoon winds push wide swells onto the beach.
Chang’s subjects include biographical interiors, such as self-portraits, scenes of family, and classroom life in the style of the Old Masters. He is most known for his paintings of farm workers in Monterey County, where he grew up. These paintings are inspired by Francois Millet, who painted scenes of farm workers in 19th-century France, and the writings of John Steinbeck, who won the Nobel Prize in Literature for his novel “The Grapes of Wrath,” about the migrant workers during the Depression era. Chang’s paintings of the human condition are unidealized and unsentimental, yet they celebrate the human spirit.
This pastel is a scene from the desert country found all around the Colorado Plateau. The wide-open spaces and vaulting turquoise blue skies have been, and continue to be, an inspiration beyond words. I have lived and traveled through this region my whole life, and always return after exploring and painting, feeling uplifted and grateful for its ever-present immense beauty.
The Guardian represents the spirit in all of us that imbues us with our innocence and deep connection to the natural world. He assumes the role of guardian; nothing is more important to him than preserving the delicate balance and relationship between animals and humans.
Christopher L. Cook is an active influencer and internationally collected artist. Through public discourse, private coaching and his oil paintings, Cook shares a love of creative personal development. In his own words, “I consider our mind-body-spirit to be an extension of nature's creative energy and my practice is to connect with this source. The aim of my work is to polish my perception into one of personal depth and alignment with nature’s beauty. It brings me fulfillment to share this journey, knowing that my finished works may serve as a mirror of spiritual significance.”
When I go on location to paint, I first look to experience the place in which I am. I first notice the big shapes and colors, as that is the most obvious, but then I try to get the mood of the place. In this painting the people going for their morning swim added a human element and I knew it could be a good painting with an interesting narrative.
My paintings are always based on a reverence for nature. Whether it is day or night, the natural light gives life to all the colors, and harmonizes them. Bringing nature and a sense of light together for a scene you could step into - that is my ultimate goal.
Oil on linen mounted on panel, 8.75" x 11.5", $1600
Along the coast of California, there are various pockets of coastal cypress and pines, taking a bold and defiant stand against the elements, year after year. It was based on these scenes, located in the northern part of the coast, that Grand Stance was created.
Brilliant sparks erupt from a snapping plasma cutter in John’s hands. Piercing channel iron for my small job, it looks like a toy and burns with the energy of stars.
The University Club, built in 1928 in downtown Santa Barbara, was the ideal subject for this plein air painting. The combination of architectural details, foliage and morning sunlight attracted me to set up on the front walkway. Since the facade was in shade, my intention was to play the contrast of the warm sunlit flag, bricks and foliage against the cool plaster and shadow on the building. This painting represents some of my best plein air work.
Oftentimes it is difficult to describe your own artwork because of its personal nature, but as people, we share many similar experiences, and that is what makes the visual arts, literature and music part of such a timeless and universal language. I like my paintings to tell a story, to have a larger, more personal and emotional message. By trying to be honest with yourself in the process of creation, you explore your own psychological complexities. I like my viewer to tap into their own experiences and search for meaning in pictures, like poetry.
This cougar has frozen mid-stride, his raised head pressing his chest further into the ground, creating a hollow in his back, and causing tension in his hindquarters. Ready to explode at the first opportunity!
I’ve always marveled at cats’ ability to lounge and sleep their days away, yet easily maintain incredible strength and agility without any training. Watching them is like a study of athletic intensity: compressed energy coupled with acute focus and meticulous movements.
Growing up on the Central Coast of California, I was inspired by the natural beauty of the Monterey and Big Sur area. The raw power and stoicism of the coast drew me in from an early age. Surfing instilled a sense of knowing my place in the natural world around me, as temporary participants against an almost timeless and indifferent backdrop. My paintings strive to capture these fleeting moments of this awareness, amidst the rawness of their environments, and to record this point in time in this particular region.
This piece was inspired by the broad, vast and untouched Highlands landscape. The location was in the Grampian Mountains on our way to Balmoral Castle.
Nocturnes in watercolor are difficult, because the transparency requires a lot of pigment in the washes. I love painting them though, because it’s a wonderful medium for creating mystery and lost edges.
This scene from a painting trip to China was like something from another world, stepping back in time. The eerie fog creeping in from the surrounding jungle over the river, barely a sound save for the gentle movements of a few boats moving about; and then a television set came on in that houseboat.
I frequently visit the beach and never fail to see, and feel, something different every time, no matter what the weather or time of day. The evening provides the greatest changes, with elements of wind and water moving as the colors of light dance to new tunes, often manifested by clouds.
Yet sometimes the breeze ceases and banks of mists blow in from nowhere to declare that the sky is closing early: the day is over and the sun is retiring. No drama, no sunset, no green flash. Go home.
Be soothed by new dusk colors and be at peace.
Wharf #2 - Monterey is a scene overlooking the Monterey marina from the Presidio, an 18th century strategic military installation. The scene has been rendered by many local early California painters like E. Charlton Fortune, Armin Hansen, Percy Grey. The scene of warm late-afternoon light, a lack of wind and the unusual calmness of the bay waters attracted me. The moored boats drifted freely in all directions, presenting a delightful challenge.
I moved to the Monterey Peninsula in 1982, and the local scenery has since been a muse. The paintings, Wharf #2 - Monterey and China Cove – Point Lobos, are testimony to this influence.
I enjoy visiting the Santa Barbara Zoo to sketch -- and they allow their Sulfur-Crested Cockatoo to spend time in the open air and sunshine. I wanted to capture that moment when the bird was in a state of intense concentration, working on perfecting the condition of each and every tail feather. When it was finally satisfied that every feather was in shape, it ended the grooming session with an exuberant shake-out and settled into a nap, looking clean, white and perfect.
The sea foam, as it swirls and whirls onto the wet sand, mesmerizes me. It is like a dance together with the breathing of the ocean, never to be repeated.
I have grown up near the ocean for most of my life. Probably the most beautiful time of day to walk on the beach is at sunset. The colors of the reflected light on the ocean are dramatic and vibrant. The crashing waves are iridescent with the rear-lit light, and the orange sunlight creates a wonderful sparkle of energy.
I was looking to create a long harmonious still life connecting many objects for an unusual arrangement of spring color. Exploring a fresh and limited palette, I started with the beauty of the yellow roses. The composition revealed a modern tone with delicate lightness.
My inspiration for painting this iconic Folsom bridge over the American River was the atmosphere. Softened by golden light on a warm sunny day, and the reflections of its rainbow-shaped arches in the rippling reflective surface of the river.
While hiking through Montana de Oro, in Central California, I stood in awe over so many beautiful scenes to paint! I was also entranced by the variety of animal life; snakes, birds, and cattle.
This yellow bird was sitting on a stick in the middle of a field of dried grass. Although I'm not a birder, I tried to figure out what type of bird I was looking at. Maybe it's a goldfinch, or perhaps a vireo. Either way -- it's a yellow bird!
I've had an interest in painting trees the last couple of years, as well as the Sonoma County hillsides, and my wife had recently taken a small interest in bird watching. I've always seen antlers as very tree-like in structure. Put it all together and you get this pleasant little scene.
This is one of several bird studies painted while traveling through Colombia. I took many bird photos during the day and later at night I painted this and several other pages while memories were still fresh.
Deep in the San Bernardino Mountains there are waterfalls far from the roads, found only by long hikes that lead the determined explorer to isolated places of quiet and beauty. People who find these places know to keep them for themselves and a select few. Kept secret, the naturalist can experience a captured moment with nature, with only the sounds of singing birds and water crashing into the pool from many feet above.
This scene is outside of Cali, Colombia, the barrio of my mother-in-law. The barrio is fairly new and there's a lot of construction which to the urban painter creates many possibilities, hence the brickyard. Painted from a plein air study, the grittiness, colors and energy were the attraction for me. Loud and smoky vehicles, kids playing and salsa music swirled as I painted the plein air version. I thought of that same energy as I painted this studio version. The little dog in the road was prancing like he owned the place, a nice touch.
This view of the trolley station at the American Plaza in San Diego is a major link to all the rail systems operating there. At high noon, on a sunny day, the light casts interesting shadows on the ground, as well as reflected light on the upper beams. The activity of people is also of interest, as they linger or hustle while waiting for a train.
It was the colors, and the sense of weight to the boulders that was the driving force for me to paint this image. The slight waterfalls, and the blue of the sky compliment the boulders.
Coyote brush, a fluffy coastal sage that grows up and down the California coast, possesses some of the most beautiful grays at twilight. The sun has just passed behind the tall eucalyptus trees and the entire landscape becomes a neutral harmony. The quiet and calm interaction between the two figures merges with this landscape to create a symphony of mood. An intimate moment shared in this vast but serene setting conveys a sense of comfort. These are the moments that I cherish and aim to express.
During this year of isolation and staying at home, I found myself longing for the days of traveling and painting on location. One trip came to mind; in the tiny hamlet in the Luberon region of southern France at the magical moment when the cherry trees were in bloom. I was captivated by the ancient farmhouses against iconic blue hills, billowing clouds and incredible blooms that were gone two days later, blown away by the wind. I laid down my impressions on canvas in loose expressive brushstrokes, comparing and relating spots of colors as I traveled back to that place.
I had a lot of fun setting up this still life featuring red. My goal was to capture the feel of the carved surface on the unglazed clay pot, and to closely differentiate the warm and cool reds on the pomegranates and pot, which were similar in value. Painted from life, of course, and yes, I’m easily amused!
One of my favorite subjects is this little black teapot, which I’ve had for years and painted a number of times. I surrounded it with bright orange persimmons and transparent marbles with swirls of color to help describe the ‘hide and seek’ form of the black tea pot in a dark background. The composition is a study of round volumes and curves—there are very few straight lines in this painting!
Shining Seas portrays the setting sun, shining across the rolling sea along California's Coastal Hwy.1. It was inspired by a special moment in time, a memory that I wanted to preserve. As I sat watching the sun set over this glorious scene, I couldn't help but connect with the words of Katharine Lee's American patriotic song, “America the Beautiful.” Yes, America is truly beautiful, from sea to shining sea.
I paint what is beautiful and meaningful, knowing that this act of celebrating and communicating the beauty in this world has the power to uplift and inspire.
The Travelers, an oil painting on canvas, depicts train passengers with their suitcases waiting to purchase tickets at ornate vintage windows in Grand Central Terminal in New York City. This contemporary scene captures a period of classical American history, and depicts the beautiful architecture which is bathed with interior artificial light. Whether it is a short trip home or an exciting vacation destination, these travelers’ journeys have begun in an impressive environment.
Boats have always been emblematic for me of our passage through time. Covid-19 has added a layer of complexity to my view of boats in this metaphor. Stuck Fast seems to sum up my feeling of being stuck between the changing tides. Trying to find beauty in the moment, yet fearful of the dying light. Not knowing what comes next, but sure that change is inevitable. Such thoughts have been a constant this year as I approached all of my paintings of boats.
This is the view looking down the street in front of my house. The late afternoon light in the autumn comes through the sycamore trees, lighting up the leaves, and scattering shadows across the road.
I feel lucky to have several old cars that live on my street. This particular truck comes and goes regularly, sometimes disappearing for days at a time. So when I learned the owner was leaving town for a week, I seized the opportunity and painted for about an hour and a half each day over five days.
The Pescadero coast offers an intriguing variety of weather. Often, fog shrouds the cliffs, and then, without warning, silently falls away revealing iconic cumulus clouds overhead or, if one is truly lucky, pure gorgeous sunshine. A Touch of Light is an intimate view of this stretch of coastal land. The ocean in its deep gray-blue hues as contrasted against the panoply of color reflecting off the rocks. One brilliantly lit wave introduces a sense of drama to the scene, speaking to my fascination in capturing one fleeting moment that took my breath away.
Rolling breakers on the north shore of Maui were bathed in the golden light of sunrise when I painted a plein air study for this piece. An overnight thunderstorm had wrapped the coastline in heavy clouds. It was only just receding as I arrived, so the resulting painting became a study in contrasts. The brilliance of the sun on one side of the canvas illuminates everything in the scene, while the darker atmosphere of the receding storm makes that light fell more evocative and dynamic.
The beggars in Prague have a very unique supplicant posture I’ve seen nowhere else. The patterns in the street and sidewalk made this subject irresistible.
Colorful Competition II is an exciting and colorful painting of the Yacht Club Regattas in Newport Harbor. The sailboats are moving quickly and jockeying for position for the start. The sailors are full of emotion, adrenaline and joy.
The viewers watch in amazement as the boats fly by so close that you can hear the skipper calling orders to the crew, and hear the boat rushing through the water, and get startled by the snap of the sails.
Sailing is about feeling the wind on your body, understanding the sea and reading the secrets of the waves.
On this working ranch the horses live freely as a herd when they’re not working. In the morning a couple riders go out and herd them in to be saddled up and do their work for the day. I was fortunate enough to catch them crossing the creek that meandered through the property. I loved the gestures of the horses as they plowed through the water and up the other bank, and the variety of colors and values of the different characters as they zig-zagged through the scene.
When people view my work I want them to see a painting, not a photograph. I want them to enjoy a surface made alive with color, texture and the movement of a human hand. I also want them to feel how the painting remains tethered to the reality that inspired it. Up close, I want my surfaces to explode. From a distance, I want them to reassemble into a cohesive whole. But above all, I want my audience to feel the same wonder, joy and excitement I experienced as I painted it.
On a spring afternoon, walking through a meadow in the south of France, I came along an expanse of a shocking yellow: Scottish Broom. All bordered by an abandoned olive grove, it became a setting of artistic perfection. I made notes, took numerous photos and made light and color observations for studio completion. I am so delighted to share those results.
Sudan, the last male Northern White Rhinoceros, died in 2021, and I cried over the news. This painting is of a Southern White Rhinoceros that we were thrilled to see in South Africa in 2019. There are only about 17,000 of these beautiful creatures left in the wild and action must be taken to STOP the market for their horns, which are made of the same material as our fingernails and have no medicinal use at all.
I like the idea of taking everyday objects and arranging them in an unusual way. These jars fit so nicely in this worn cardboard box, creating a sort of curio cabinet to paint. It’s always gratifying to try to record textures in watercolor, too.
I “met” the Old Man while walking our dog one morning. Like many San Francisco neighborhoods, Russian Hill has its share of old homes; many of them seem to need some repair. So, seeing an old pick-up truck parked out front of one with some lumber and tools on the sidewalk is fairly common. But this circa-1950s Chevy truck, backed into a sunlit driveway, brought me back to my own childhood in Detroit. And what struck me most was that “he” wasn’t a display antique but still in use, still at work.
I like my paintings to express happiness. I use my artistic skills to create art that will give people joy and hope. Art is my tool for helping to make the world a better place. My painting The Red, The Yellow, The Purple is from this idea of happiness.
I was so inspired while staying at the beautiful old Art Hotel Spaander, in Volendam, Netherlands. The hotel was founded in 1881 and was a meeting place for many artists of that time, who often paid their bill with a painting. Hence they have a beautiful art collection on the walls. I loved watching this waiter setting tables for dinner. I knew I had to paint the beautiful light and reflections of this old historic room.
Emilie Lee is a classically trained oil painter whose work is inspired by her adventurous lifestyle and her background in traditional realist painting. From the deserts of southern Utah to the Japanese Alps to her backyard garden in Carpentaria, her plein air and still life paintings are meditations on the peace she finds in nature.
“If you truly love nature, you will find beauty everywhere.” ― Vincent van Gogh
Following the traditional en plein air Impressionism, I painted the plein air watercolors at the Valley first, then developed it into this studio painting Spring Green, San Pasqual Valley. What I try to portray in my work is not only the nature itself, it is the extraordinary variety of nature’s light, moods and moments that touches me. The spontaneity of watercolor and the movements of my brushstrokes are the perfect pair for my very personal visual expressions.
I have been to Sierra Nevada many times, but all my trips to this area are either in summer or autumn. When a friend and I made a trip there in winter for the first time a few years back, I was overwhelmed by the pristine landscape near the South Lake area. Nature presents her beauty with various looks through the year. In this case, it is the light and shadow pattern that caught my eyes.
Sometimes natural beauty exists in most common place like this picnic area; however, a sharp eye is required to find it out. My friends and I were on a painting trip to Malibu Creek State Park a few years ago, and we tried to find a place to sit down for lunch when we spotted these shady benches. Once we got closer, I wasted no time and set up my easel to paint. Although I had a late lunch, I was happy to catch the inspiration.
Petro Relic depicts a local gas station as an archaic temple of fossil fuels, built with white marble and bathed in ethereal light. Unlike the classic columnar orders of Doric, Ionic or Corinthian, the columns of Petro Relic are mid-20th century Googie. They are tapered and inverted under a thin, upward-sloping roof.
Reflecting on a year of instability at every level, knowing that the chaos has disrupted every one of us, led me down a road of self-reflection and a desire to dig deeper into why I paint. Memories of a Painted Horse brings me back to a time in my life where four legs and a mane and tail were everything to me. A lifelong love of the horse for their beauty, heart and strength has been a thread in my life that continues to this day. This piece is about the spirit of the past looking forward to tomorrow.
I live in New Mexico and here artists are constantly confronted by dramatic skies, especially during our summer monsoon season. It is hard not to become enamored with trying to capture the feeling inspired by the cloud formations and, at a certain point, I decided that skies would be my subject to paint. Of course, the land is important too, as it sets up everything, but there is usually little doubt as to what the majority of my work is focused on.
I travel to the High Sierra as often as possible to witness nature’s transformations. On a recent winter trip, I revisited a grove of aspens I painted the previous fall. As I made my way through the snow fields, I hoped to find a scene to depict how I felt about winter. It was a delight to see how the sunlight passed through and played with the bare branches. They seem delicate in their transparency. With the background hill and boulders as a backdrop and a stage of warm grasses and cool snow, the idea for this painting was conceived.
I have always been fascinated with the way light reveals forms to create the most profound collaboration and symphony of color notes and shapes that we see in landscapes all around us. In my paintings, I seek to capture those stories I find in the shifting color and light through unique color palettes and bold brushstrokes. My goal is not to reiterate what I see onto a canvas; I strive to capture the energy, essence and fleeting impression that the landscape embedded in me when I first laid eyes on the scene.
While cleaning up my studio, I temporarily moved these chrysanthemums to my work table. As I casually glanced over, inspiration struck and I fell in love with the surprising contrast of the bright and delicate flowers surrounded by tools and supplies. Sometimes the best paintings are the ones that are done impulsively, with fresh energy and passion.
As an avid gardener, I truly appreciate the time and energy that goes into the farmer's market produce. With this painting, I worked to capture their subtle colors, and often overlooked beauty. Oils were the perfect medium to emphasize their rich colors, delicate forms and delicious textures.
I find it fascinating that we intentionally, or unintentionally, indoctrinated with the idea that we are superior to nature. But are we? We are animals too. If we realize our connection to the natural world, and base our actions on logic, rather than just biological responses, we could see the bigger picture. We could save species, protect them and create a system to thrive in. Taking action, not just in our own interests. If we don’t care and just live for ourselves, then we are actually no better than nature and a slave to it - survival of the fittest.
Frogs, synonymous with the health of an ecosystem, which is often influenced negatively by humankind, hinted at in the sculpture by the object the frog is clutching. Crows, one of the few species that does do well close to man, mirroring our indecisive stance as altruistic protector or feeding our egotistical needs.
This beautiful palm oasis, in the middle of the California low desert, is an inspiration to many artists. I loved how the rising sun created a golden glow around these very old, large giants.
The figure has always been a focus of my art. I discovered early on when drawing and painting models in the studio that the un-choreographed moments, the “between poses”, were what intrigued me the most. I paint common experiences, the small stories between poses. I’m also intrigued by light, which is as much a subject of my painting as the people who are in them. In Beach Belly I was struck by the little girl’s fascination with her belly and the beautiful light on her hair and shoulders.
Buster was a dog who loved to accompany his human companion, Floyd, fly fishing on the gin-clear waters of the Chimehuin River in Patagonia.
It was comical to watch him in his obsessive attempt to catch a fish. It was his favorite place and pastime, truly his paradise.
This painting is part of a series of dice paintings inspired by the calculated risks we have all taken this past year of the Covid-19 pandemic. Percentages, chances, odds and risks have been at the forefront of our collective worries and fears recently. And this series is about putting those risks into a concrete image.
Following a tumultuous night of thunderstorms, I painted on the Grand Canyon rim and noticed a peregrine falcon rising from the darkness and ascending into sunbeams before it vanished high overhead. I continued painting until a startling sound shattered the silence as the falcon opened its wings from a rocketing stoop (dive), where peregrines can exceed 240 mph as the fastest creatures on earth. Despite their unmatched speed, agility, intelligence and bravery, peregrines crashed near extinction in the ‘60s. Intensive management, the Endangered Species Act and protected habitat have restored these top predators, soaring upwards into a hopeful new beginning.
I love the small town quality of Loleta, Calif. I pass this scene almost daily and have painted it often at a different time of year and day. This time I was struck by the shapes, color, atmosphere and glow of the morning sun. This was painted on site over several mornings.
Spur Check was inspired from a photograph taken by Robert Warren in which a cowboy is leaning against a barn door, checking his spurs and smoking a cigarette. I was so taken by the photo, I decided to paint it, and then I loved the painting so much I wanted to see how it would look as a sculpture! Turning this particular subject matter into a 3D object presented a challenge because the cowboy had to be leaning against something and a barn door would not translate into a 3D object; thus the mailbox was born.
As the horse and rider reflect on where they’ve come from, the use of color, and black and white, transition from one to the other. Reflections explore the two. It is a challenge to have black and white in the midst of a world of color. Utilizing the wood grain as the medium tone, the black and white needs to be more powerful if it is to make a statement. Thus, marrying the two, and inviting the viewer’s eye to follow the path from black to color, through the grain of wood and back.
At the base of Mt. San Jacinto, which towers majestically above the desert town of Palm Springs, California, is a unique neighborhood of Mid-Century homes. “Little Tuscany” is built amidst huge boulders and, for the most part, natural landscaping. While a majority of the well-known artists painting the region over the last century aimed their canvases looking west at the mountain, I always find inspiration looking towards the east out over the valley floor and on to other more rounded mountain ranges. If you’re lucky, you’ll see a dramatic cloud display as the day cools for sunset.
My painting Garden of Eden depicts the moment after Eve eats the forbidden fruit and realizes she is naked. In that moment, she feels shame and the need to cover herself. Her demure posture and look express her vulnerability. Bright green colors and gold leaf in the background portray not only the unspoiled beauty but also the fresh lush nature that surrounds her.
The construction of the Gerald Desmond Bridge in San Pedro was fascinating to watch. The bridge is now complete. It is amazing what people can create working together.
Yosemite’s Half Dome is truly iconic, offering endless inspiration and beauty. This sentinel of the park watches over the valley and dons a fresh coat from a winter storm.
My painting Pretty in Pink pays homage to a friend who is no longer of this world, someone who enjoyed the quiet beaches of Laguna, who loved and supported the arts, someone who lit up a room with her bright and infectious personality. She has left an indelible mark on those she knew and loved and every time I return to this cove, she is there.
Cutting rodeo events require a horse and rider to separate a calf from a small herd. Once the calf is separated, the horse’s skill and instincts are required to keep the calf from rejoining the herd. Watching the performance, I saw that a lot of strain occurs on the horse’s legs as it moves from side to side in quick motion to keep the calf from returning to the fold. This young lady was preparing her cutter horse for the competition in the Junior Rodeo. I was inspired by her tender dedication in applying the leg braces.
This painting, Inspiration is a celebration of the beauty God has created in California’s Los Padres National Forest. As spring arrives, the poppies and lupine begin to decorate the trails leading to the majestic geology ahead.
A beautiful chilly morning in Northern California, early enough to see the dew evaporating from the hillside grasses, creating a misty curtain obscuring the eucalyptus trees in the distance. This clear, bright morning light was kissing the contours of the cows just finishing their early morning meal.
Flashing its neon message, the Shanghai Café signaled a totem of meaning to me—a symbol of metamorphosis and transformation. These burning letters compelled me to tell a story infused with meaning, more than just another pretty picture. Signage is an age-old art form that communicates brand, identity and purpose. Over the past 20 years of painting, mid-century styling and Americana often find their way into my work. The archetype of the butterfly crosses nearly all cultures. It is a representation of resurrection, renewal, hope, endurance and courage to embrace the change necessary to make a better life.
If you've ever been on a fishing boat you're sure to have witnessed a scene like that depicted in The Fish Cleaning. I wanted to capture that moment, motoring back to the harbor, gulls in tow, deckhands hustling to fillet the catch. I really enjoy the colors out at sea; on a clear day there seems to be blue reflecting in just about everything.
This piece was inspired by a mother whose husband was on a 10-month deployment on a naval ship. The image depicts a moment when she was resting with her son sleeping on her shoulder. It brought a sense of peace during chaos and long-awaited hope
The scene: lunchtime on a busy square in Bruges, Belgium. The challenge: how to design all those disparate elements into a different way of seeing something ordinary.
I have been very fortunate to have spent the last 20 years of my life wandering and painting many of the most beautiful locations around the country. Among the finest is the area surrounding Jackson, Wyoming. With endless rivers, mountains and untouched landscape, it is a true paradise for an artist.
This piece combines my love of light with a passion for experimenting with color. Sometimes when I work on a piece, it's not immediately apparent to me that it holds a deeper meaning beneath the surface. In this case, I came to realize that I was drawn to this scene because it captured a sense of diversity in this random group of people going about their day. It spoke to my hope for progress in appreciating our unique differences as we all together travel through this human condition called life.
As a plein air painter I work on site, refining my larger paintings over a period of days or weeks. Typically, I will work for five or six sessions – sometimes more -- under the same light and atmospheric conditions. I do not use photographic references but work directly from life. I seek to synthesize the accurate observation of color, the high key of impressionism and the linear clarity of realism.
Halter Ranch Vineyard Morning was done alla prima on location, and is a glimpse of a sunny morning at a vineyard in Paso Robles, Calif. The play of light on the house is what inspired me.
The coast of Southern California has a special quality to the fog-filtered light. Tiny water droplets in the air reflect the light of the sun, creating colors that are pale but brilliant. This is the light I was seeking to capture. Springtime at the Lagoon was painted at Batiquitos Lagoon in Carlsbad, California, where I now live.
The Griffith Observatory sits high above Los Angeles, surveying the great metropolis. An imposing citadel dedicated to the study of the heavens. Its iconic stature in Los Angeles inspired me to render its prominence in pastel.
During a safari in Botswana I was mesmerized by the stripe patterns on the zebras, especially within a herd. My painting, Zebras, is not only a homage to these equids, but it is also an effort to capture the mesmerizing pattern in their stripes.
This painting is also intended to remind people of the tragic loss if they aren’t protected. Burchell’s Zebra, once considered extinct, currently has sufficient population to no longer be considered endangered, unlike much of African wildlife. Yet population pressure still exists.
Small Winter Delta Study is one of many plein air studies I’ve done of a scene that is walking distance from my home. This tranquil scene is an endless source of inspiration with its constantly changing colors throughout the day and seasons.
This spring has been unusually beneficial to poppies. Of the 24 years I’ve lived here in the Sierra foothills, I have yet to be able to figure out what makes them happy; lots of rain, nope. Not enough rain…not that either. Too warm? Nuh-uh; too cold…who knows!? I guess you just have to say, ‘when it’s just right!’ and leave it at that!
Miss Independent investigates the transition from childhood to adulthood, as we become socially aware of the judgement of others, and finding our place in a social group. Portrayed in one of the most vulnerable positions we commonly put ourselves, in a bathing suit, Miss Independent shows an enviable precocious confidence and style. These works are about story and character; with a specificity of portrait, clothing and body shape, I hope to imbue them with a will and agency beyond the judgment placed upon usual representations of sexuality and beauty.
Sea Horse is the first male figure I have included in this group of works exploring the transition from childhood to adulthood. He speaks to the very real beauty and sexual pressures put upon men.
“Rusty” – the color and patina of this old Vintage International really caught my attention. It was a two-day plein air painting session, arriving at the same time each morning – creating this large painting.
Lit by the early morning light, this scene was captivating. The river was still with a gentle ripple. The sculptural quality of this sunlit boat immersed in the atmospheric light created a dramatic subject.
As a plein air painter, I gravitate towards painting urbanscapes. I’m always on the lookout for contrasts; dynamic patterns of light and dark, interesting architecture and street activity. The corner of Kearny and Columbus in San Francisco provides all the elements I consider in a “paintable” scene. Here the detailed 1900s Sentinel building is in juxtaposition with the modern iconic Transamerica Pyramid. The color contrasts of green and red, and tonal contrasts of light and shadow all contribute to a painting where I could envision the outcome before I even started painting it.
I was lucky enough to spend a month painting in Bhutan, located next to Nepal, between India and the Himalayas. It was truly an artist’s dream to be surrounded by such beauty that was only rivaled by its warm, friendly and wonderful people. It was a trip of a lifetime.
As an artist, I try to be sensitive to not only the external appearance of things, but also the internal narrative (even if it mostly exists in my response to the model). The model’s fleeting melancholy expression made me wonder what was troubling her. Somehow, I kept thinking of the Amy Winehouse song ‘Back to Black’. Pushing that emotion in the painting, I made certain to depict the brow of distress by lifting the inner corner of her eyebrows slightly.
This past summer I painted my way across the Beartooth Mountains in southwest Montana. To the usual backpacking gear, I added a pochade box and a dozen linen panels. Painting deep in the backcountry is slow by design. I traveled at the whim of the muse, painting wherever inspiration struck and throwing the bivy bag down wherever I ended up. Over the course of six days and 26 trail miles I managed ten paintings. It's my way of carrying a little of the wild home with me. Beartooth High Country was worked out in the studio when I returned home.
Pebble Beach, California is well known for its unique beauty, which I enjoyed during a couple of recent trips exploring the area. I was struck by the glowing trunks of these Monterey cypress trees as the bright sunlight reflected off the Pacific.
I painted this piece outdoors at one of my favorite spots near my home in Ojai, California. This stand of eucalyptus trees holds so many possibilities to explore with paint, and I regularly take advantage of the opportunity to capture them on canvas.
Wintertime in the Eastern Sierra can be quite exhilarating and extremely challenging to paint on location, due to the cold and drastic change in weather in a short period of time. This painting depicts a beautiful spot along Virginia Creek just south of Bridgeport, California.
In this painting I attempted to capture and compose not just the stillness and beauty of the floating leaves and flowers on the water surface, but also the additional active dimension of depth and movement in the waters below, providing some tension between the two levels.
While the pandemic-locked world looked upon the video of sheriff, police and lifeguard patrols giving chase to a lone surfer in the waters of Malibu, a tribe of surfers were surfing to the south. That tribe decided to embrace the risks, living apart from the growing shadow of worldwide fear. California had inadvertently provided opportunities for us to surf together.
One of our tribe is Black Shark. A unique character, for reasons known to our tribe, his story will stay part of our subculture and travel with the future owner of this work.
I visited Qingdao City in northeast China in 2019 with a group of artists. Qingdao is also spelled Tsingtao. Located on China's Yellow Sea coast, these old fishing boats are still performing their job.
I wanted to capture this magical moment – springtime in the canyon is so beautiful with the yellow flowers blooming all over the hills. This painting location is Laguna Canyon in Laguna Beach.
Cold-cast bronze, edition of 20, 14" x 9" x 7", $6500
Canto XXX of Dante’s “Purgatorio” is one of the most dramatic scenes in all of the “Divine Comedy.” In this canto, Dante prepares himself to enter Paradise, only to realize that his friend and guide Virgil cannot accompany him any further. The sculpture was created in honor of my friend, the theologian and Dante scholar Dr. William Dyrness while we were teaching together in Italy.
These cottonwoods are along the Salt River Canyon in the White Mountains in Central Arizona. They sprout up anywhere there is water and turn a bright yellow orange in the fall.
I value the passages of life that are often overlooked. In late-day light, I quietly turned my head and lingered to gaze at my son lying next to me on the beach. In the prime of life, he had returned home from an adventurous year-long journey. This moment inspired my painting of private reverie and dreamland clouds.
The Woman from the Mountain bronze sculpture was inspired by visits to Mt. Tamalpias and the Pacific Ocean.
The woman from the mountain with eyes deep like the sea, and a gypsy soul, like the fire of the sunset, she moves in gestures of wind and dances in poetry like a siren of the night. There is a mountain of peace that resides in the soul of the daring.
The plant grows to a height of 10 feet or more, with flowers 6 inches across. The Matilija poppy is frequently called the fried-egg flower. One look and you can see why. The petals are bright white with centers of bright yellow. They’re also known as "Fire Followers" as they often appear in areas of California after wildfires. They are a symbol of resilience and hope.
I was laying out my watercolor palette when I noticed the interesting grid pattern to my paint organizer. A year of staying in place (home and studio) opened my eyes to everyday objects. I began to look at my world and surroundings differently, with fresh eyes. Covid-19 has taught me to find inspiration in everyday life and joy in those items I often took for granted.
This painting celebrates a late spring afternoon in the Sierra Foothills. Being on location and creating a number of plein air paintings was so enjoyable that I decided to make a larger statement in the studio to share the day and the beauty of the Bohna Ranch.
Ever since moving to Napa, Calif., we have had beautiful irises in our gardens every spring. I feel like God created irises just for oil painters. The flowers have so many different surfaces to play with and the light bounces off, slides down, gets stuck in the nooks and crannies, and hangs on till the end of the petal. What a wonderful playground for an artist. This particular iris was just too much for me to resist, so here it is, the foreground of an outdoor garden.
Before heading north to Umbria to teach a workshop, a quick stop at Mercato Trionfale in Rome presented this light-filled scene I couldn’t wait to paint! I was inspired by the energy and colorful assortment of fresh flowers on display at this very popular flower vendor. Bellissima!
This is a view from Mt. Burdell Preserve in Novato, California, looking south along the 101 Freeway towards San Francisco. Bits of the bay and estuary are visible glints towards the horizon. I love exploring the Bay Area parks and peaks with my paint pack and discovering new perspectives, especially in poppy season!
Mysterious and beautiful, draped in blue, touched by fire, the sound of music moving her in the dark.
Color play, as an exercise in artistic restraint, is what birthed this painting. Built on a problem I gave to myself: to create a painting with visual impact that contained the concept of dominant soft blue playing against warmer golds in an atmosphere of mystery. Painted with thinner paint than I normally use, this was an exploration in building more with less.
This experimental piece is pure metaphor; what it says is up to the viewer.
Two of many possibilities:
"I have crossed the Rubicon" said Julius Caesar. The point from which there is no going back, the decision becomes action and, win or lose, the course is set. Yet prior to that moment, small acts add up, each act, each link, moving inexorably to the point of no return.
At the same time...the chain with which she has been held back becomes the means of her freedom.
There is no one answer. Art stimulates the imagination.
This is a painting of an Indian man. The purpose of this painting is to depict the spirit and soul of the man. The white headdress and feathers, in sharp contrast with the colors of his face, show the majesty of the man.
This painting depicts an old woman of the Qiang ethnic minority in China. Members of the Qiang ethnic group believe that everything in nature has a spirit.
These are a pair of Gold Dust Geckos that I observed at a restaurant in the town of Captain Cook, on the Big Island of Hawaii. The owners of the restaurant put small containers of guava jelly on the windowsills, attracting these colorful geckos, much to the delight of the customers at the window tables. This pair was also attracted to the water in the vase of flowers on my table. They appeared to be playing hide-and-seek, as one patiently waited on the flower and the other went down into the vase for a drink of water.
While I was in Santa Marta, Colombia a couple of years ago for an international art show, I took a side trip to the little fishing town of Taganga. The landscape is very dry there, full of flowering cactus that attract beautiful orioles like the one in this painting. The birds are able to navigate the thorns to open the sweet center of the fruit of the cactus. A treat for sure in this hot dry desert.
I have been inspired by the Dutch Golden Age still life artists like Willem Kalf and Willem Claeszoon Heda since high school. Throughout my career I have been obsessed with traditional painting technique. Every time I stand in front of a master’s painting I try to see and think deeply through the layers of the painting. I believe that the beauty of art is emotional so I strive to paint elegance and calmness, using objects such as antique china, musical instruments and arranged flowers. As time passes, I hope that the message and effect of my work will be preserved.
Five generations of my family have carried on with this pattern of repousse silverware. The Silver Goblet is a painting of appreciation for the continuity of family.
Laguna is blessed with such allure in these sheltered coves. For most, it’s about the high drama of the bright sun, sand, palms and energetic bustle of summer. But for me, it’s this beckoning of twilight, with whisper-low light in shadow and the last blaze of sunset barely struggling past the cliffs. The two realities set up a divinely challenging value range for an artist. There’s a quiet resonance right at dusk, when you can almost hear nature hand off the flurry of the day’s events and find peace with the coming evening.
Sunset at Point Cabrillo was painted in Mendocino, Calif. in the beginning of this year. Point Cabrillo is a steep sea cliff on the coast of Mendocino. It offers breathtaking views of coastal bluffs and prairies, rocky shores and coves, and ocean that extends all the way to the horizon. Breaking waves and magnificent sunset colors inspired a plein air study that later on served as a basis for the painting. The style of the painting can be described as impressionistic, with "loose" painterly brushwork and bright, chromatic palette.
Art to me is a utopia. Nature offers me endless inspiration. I am drawn to capturing the grandeur and the quiet beauty of nature's colors: the morning's first light filtered through tree leaves, the sunset glow casting over the waters, and the gentle cool green of a mountain meadow.
While art comes from life, it rises above life. I hope the images I create bring to the viewer the sense of joyousness that I feel painting them.
Lin Zheng received his Bachelor of Fine Arts in oil painting from Guangzhou Academy of Fine Arts in 1982. His passion for oil paintings began at 12, and has never changed. For many years, he has produced high-quality oil paintings, which are influenced by his zeal for color, light and shadow. His impressionistic brushstrokes and strong tones of light and dark stimulate the eye and pleasantly guide the viewer to the focal point, and add to the sense of drama.
