Hot Off the Easel: November, 2015 Edition

Hot Off the Easel is a monthly blog feature designed to showcase a cross-section of vital and varied contemporary paintings. - John Seed

David Choong Lee, Pareidolia #16, 2015, Latex, acrylic & aerosol on canvas, 18 x 24 in.

"Pareidolia is a psychological phenomenon involving a stimulus (an image or sound) wherein the mind perceives a familiar pattern where none actually exists." - David Choong Lee

The Pareidolia series is currently on view at FIFTY24SF Gallery in San Francisco

Viktor Safonkin, Rainbow, 2015, Oil on canvas 100 x 100 cm.

"We are running to meet the goddess Iris, whose symbol shines from the horizon to the horizon, to be closer to the dream: stilts will help to be closer to clouds, far away from the rational and prosaic world. We must rejoice every day, rejoice to the dream even as the nightmare phantom slides over meadows!" - Viktor Safonkin

Rainbow (detail)

Viktor Safonkin is represented in the U.S. by Copro Gallery and will have works on view at Scope/Miami Beach, December 1-6, 2015.

Margaret Bowland, Tangled up in Blue, 2015, Oil on linen, 70 x 98 in.

"The painting is about innocence and love; the man on the right is the boy’s father, and he has taken on the burden or entanglement with this world in order that his son can grow up innocent, escaping as long as he can what is to come." - Margaret Bowland

Tangled Up in Blue will be included in the exhibition Margaret Bowland: Power at Driscoll Babcock Galleries, October 29 - December 12, 2015.

Conor Walton, Lego Mondrian, Oil on linen, 10 x 14 in.

"Lego Mondrian plays along one of the fault lines of our culture, using the juxtaposition of two objects to create a symbolic contest between the values represented by traditional naturalistic painting and those represented by high modernist abstraction." - Conor Walton

Lego Mondrian will be included in the exhibition Conor Walton: The Enemies of Progress at CK Contemporary, opening on November 7th, 6 to 9 PM. View exhibition catalog online

Guy Diehl, Still Life with Diebenkorn #2, acrylic on canvas, 27 x 29 in.

"The calipers and glass bottles playfully mimic the geometric patterns within the referenced work: a compression is created between the grouping of objects and the surrounding spatial void within the format. This allows the composition to convey an equilibrium of what I see as complementary opposites within the painting." - Guy Diehl

  Still Life with Diebenkorn #2 will be included in the exhibition Guy Diehl: A Dialogue with Tradition II, opening November 5th, 5:30 to 7:30 PM at Dolby Chadwick Gallery.

Sadie Valeri, Roses on Green Velvet, 2015, Oil on canvas, 9 x 12 in.
"I worked on this painting over the course of five weeks, so each week I replaced the roses with fresh blooms. It was a challenge of memory and imagination to stay true to the original roses, using their replacements for inspiration." - Sadie Valerie

Martin Wittfooth, Dawn, 2015, Oil on canvas, 54 x 120 in.

"Dawn is a meditation on the notion of 'waking up,' of becoming more spiritually connected, more aware, more conscious, in an era that is in dire need of this transformation." - Martin Wittfooth

Dawn is included in the exhibition Martin Wittfooth: Offering at the Jonathan LeVine Gallery, through November 14th.

Eric Aho, Barrow, 2015. Oil on linen, 80 x 80 in.

"Barrow, 2015 emerges from a recent trip to eastern France where I retraced the footsteps of my father's WWII battle itinerary; the overlaid and buried histories of this landscape are both revealed and redacted by this 'barrow' of paint." - Eric Aho

Barrow is included in the exhibition Eric Aho: Wilderness Studio, on view at DC Moore Gallery through November 14th.

Brad Kunkle, Eclipse, 2015, Oil and silver leaf on wood, 16 x 16 in.

"What I have to say about it is... a quote by Buddha: Three things cannot be long hidden: the sun, the moon, and the truth." - Brad Kunkle Brad Kunkle is Artist in Residence at the Cal Lutheran Kwan Fong Gallery through November 7th. His work will be on view during the Representational Art Conference (TRAC 2015), November 1-4.

Vonn Sumner, Lid-Head, 2015, oil on canvas, 40 x 30 in.

"I wanted this painting to contain as much silence and atmosphere as possible, while retaining a sense of humor and painterly pleasure." - Vonn Sumner

Lid-Head will be on view in the exhibition Vonn Sumner: I is An Other at the Cypress College Art Gallery/Project Space through November 25th.

Brenda Goodman, MoMA... Please, 2014-15, Oil on Wood, 72 x 64 in.

"When the figure with the white head emerged from the surface it looked very focused and determined. The title MoMA....Please popped into my consciousness and i thought it was very funny with a little wish-fulfillment thrown in!" - Brenda Goodman

MoMA...Please will be on view in the exhibition Brenda Goodman: Selected Works 1961-2015 at the CCS Center Galleries, November 14 - December 19.

Lee Price, Self-Portrait in Tub with Flowers, 2015, Oil on linen, 65 x 29 in.

"Most of the women in my paintings find themselves seeking solace from the wrong sources; here that solace is attained." - Lee Price


Self-Portrait in Tub with Flowers will be on view at Evoke Contemporary in late November, 2015.

Peri Schwartz, Studio XXXVIII, 2015, oil on canvas, 50 x 40 in.

"I'm excited about incorporating curves into my studio interiors." - Peri Schwartz

Studio XXXVIII can be seen at Gallery NAGA in Boston. Other works by Peri Schwartz are on view at the University of Mississippi Museum through January 3, 2016.

Paul Sattler, Remedy, 2015, Oil on canvas, 66 x 66 in.

"Remedy is the most recent personalized variation of an image that I discovered when living in London for a few months with my family. The engraving--Doctor Panurgus (curing the folly of his patients by purgative medicines and chemical cures)--is a line engraving by Martin Droeshout, ca. 1620." - Paul Sattler

Remedy: About a Decade of Painting, is on view at Marist College Art Gallery, November 12 - December 17.

Adam Harrison: 'Thousand Skies' at George Billis Gallery, Los Angeles

In his most recent paintings, artist Adam Harrison explores the particular places he encounters in his everyday life. Working for periods of between four and six months, Harrison records both interiors scenes and cityscapes, documenting them with honesty and a journalistic approach. The resulting images--emptied of cars and people--emanate a certain sobriety while still hinting at human endeavor and energy.

John Seed Interviews Adam Harrison

Adam Harrison

Can you tell me a bit about your early life? Where did you grow up and were you always artistic?

I grew up in Boulder Colorado, in eyeshot of the Boulder Flatirons, where I was born into a pretty artistic family. Starting with my dad, whom I remember making intricate drawings of complicated circuitry and the like for electric engineers on his drafting table, would also show me wonderful M.C Escher type drawings that he made on his downtime during the Vietnam War. My grandmother on my father's side was one the founding members of the Helena Arts Council, which eventually turned into the Holter Museum of Art. Visiting gallery spaces, which exhibited curated shows put on by my grandmother, made a great impact on me. Also my mother, being a published children's book writer, surrounded me with books on artists and art techniques all my life.

Lincoln Place (03/12), 2012, oil on panel, 42 x 48 inches

Did you have any important mentors while studying at LCAD and/or Long Beach?

Yes. The most important mentors for me would have to be Stephen Douglas from my time in Laguna, who taught me not to be afraid of paint; and Domenic Cretara and Yu Ji from Long Beach, for teaching me the value of working from life.

Ocean Park Alleyway (04/13-10/14), 2014, oil on panel, 50 x 60 inches

How long have you been painting cityscapes? How did you become interested in them?

I've been painting cityscapes since 2011. It was June of that same year when I saw a retrospective for Antonio Lopez Garcia. I was immediately impressed with Garcia's devotion to working with subjects he knew very well, like the city of Madrid, and also to his commitment to working from life. And that's when I started to paint and draw my city of West Los Angeles.

1900 Pico (12/14-7/15), 2015, oil on canvas mounted to panel, 48 x 58 inches

Tell me about one of the locations depicted in a recent painting and why you chose to paint it.

One of the most recent paintings came from the discovery of this huge pit, which was excavated about seven years ago on the grounds of Santa Monica College. When I was first hired there as an adjunct professor of drawing I was shown around the arts facility and came across this construction site. I was immediately taken by the vastness of the space carved out beneath the feet of Pico Blvd and the daily life outside of its tall construction fence - however it is completely invisible from everywhere except a few high outlooks from the college. "1900 Pico Boulevard", like all my paintings, was chosen by three criteria: practical to get to, and set up for a painting, i.e. workplace. Secondly, the location has to have a certain impact on first discovery. Lastly, the site has to be memorable, so much so, that the thought of not painting it, seems much worse than the energy and time needed to complete it.

Lapin (03/14-09/15), 2015, oil on wood, 48 inches in diameter

Your work has a serious and reserved mood about it. Are you that way as a person?

I would agree that there is a fair amount of seriousness and reserve in my paintings but my working conditions force me to be spontaneous too; which yes, perhaps could describe my personality.

Saint Augustine (04/14-08/15), 2015, oil on panel, 60 x 46 inches

Who are some artists that you admire?

Well, I've already mentioned Garcia, but to list off the other artist which have been the greatest help to my development as an artist would have to be: Euan Uglow, Andrew Wyeth, Claude Monet and Rackstraw Downes.

Santa Monica (06/14-08/15), 2015, oil on panel, 50 x 60 inches

What are your interests outside of painting?

I enjoy the outdoors, such as the rugged coastline of Northern California. Also, attending theater and visiting museums with my girlfriend, and reading history books - currently The Journals Of Lewis and Clark.

South Street (03/12), 2012, oil on panel, 42 x 48 inches

Is there anything else that you would like to mention?

 Every time I head out to my painting site I experience a certain level of anxiety and it can take me a good twenty to thirty minutes to relax enough to enter the painting. But the strange thing is, I love working in public spaces, even past the nerves, I always gain new history and stories of the worksite by meeting the people who live and work around these areas.

ADAM HARRISON: Thousand Skies
September 12 - October 24, 2015
The George Billis Gallery
2716 S. La Cienega Boulevard
Los Angeles, CA 90034

Andrew Hem: 'Unknown Terrain' at KP Projects/ MKG

Andrew Hem's murals for Santa Monica College

Andrew Hem has been busy: painting, traveling and executing murals. He recently completed a pair of murals for Santa Monica College -- where he once took his first figure drawing class -- which depict the artist and his sister, who he says he hasn't seen for awhile. He is also the subject of Unknown Terrain, a solo exhibition of his work at KP Projects/ MKG in Los Angeles. Hem's ethereal paintings hover between memory and reality, creating a poetic bridge. He is a gifted colorist and a natural artist whose work comes from the heart.

John Seed Interviews Andrew Hem

Andrew Hem

Growing up in the tough parts of LA, how did you find your way towards art? 

Growing up in L.A. I always leaned towards the gang writings on the walls. I didn't even know they were gang writings when I was young. I just knew it looked cool. One day in middle school I wrote my whole essay on the writings I saw on the walls and the teacher asked me in front of the whole class: "Andrew when did you become a gangster?" and then told me "Do your whole essay over again." That was the last time I wrote like that. Gang writings led to graffiti and graffiti led me to art.

In My Shoes, Acrylic on panel, 24 x 35 in

After studying at Santa Monica College you attended Art Center in Pasadena and majored in illustration. How did studying illustration shape your work?

I just wanted to be an illustrator because I loved figure drawing. I didn't know what an illustrator was. I just loved to paint figures and landscapes.

Aframe, Acrylic on panel, 24 x 43 in

Who have some of your important teachers and mentors been? 

Gary Meyer, Scott Hess, Marc Trujillo, Kent Williams, Jim Salvati. They are amazing teachers that helped shape me to the painter I am today.

Close to the Edge, Acrylic on panel, 24 x 42 in

It has been said that your art is full of supernatural, dreamlike and spiritual imagery. Do you agree with those characterizations? 

Yeah I do. Ghost and alien stories always interest me. Eighty percent of the people I meet always have a ghost story and five percent will have a UFO experience. They have no reason to be lying to me and I believe them 100 percent. All of my interests always leaks into my paintings. I think ten percent of my work is probably spiritual. The rest are dreamlike memories I have of my experiences.

The Journey Begins, Acrylic on panel, 25 x 44 in

What are some of the main themes of your current work? 

I've been fortunate to travel to some amazing places. And from that I've met some amazing people and experiences. Life experiences turns to stories which then turns into paintings. My last show I was told it was darker and I didn't even realize it. Looking through it I can understand why they said that. I was going through some real personal things and didn't even realize it leaked into my paintings.

Quiet, Acrylic on panel, 24 x 48 in

Tell me about one of your recent large scale works. 

I have two styles of painting. One is more rendered and the other is more painterly. When I bring out the large canvas the painter in me comes out and I just want to make the whole thing impasto. When it's large I only use oils. When it's small I use acrylic. I don't know why I choose to do that, it just happens. The larger works are inspired by the times I spent during my youth.

Moves Slow and Steady, Acrylic & oil on panel, 24 x 43 in

What are your interests outside of art? 

I like finding good pho or ramen spots. Enjoy binge watching naruto anime. Traveling, going to the gym, sleeping 10 hour days. I'm kinda obsessed with repetition. Which is strange cause I hate to repeat myself when it comes to painting. But I'll watch the same things over and over again for weeks. It will drive most people crazy. I sometimes do paintings listening to one song. If the painting takes three weeks it will be three weeks of listening to the same song. A bit weird.

Andrew Hem: Unknown Terrain
October 10th - November 7th, 2015
KP Projects/ MKG
170 S. La Brea Avenue
Los Angeles, CA 90036

Jon Swihart's Instagram "Selfies" of Greg Escalante Are Hilarious

Selfie at the Hindenburg Disaster

Two years ago, as part of his preparation for painting an oil portrait of art dealer Greg Escalante, artist Jon Swihart took some photos of his subject: LOTS of them. "The session went on for two hours," Escalante recalls, "and near the end I started goofing off." Swihart came away from the shoot with dozens of digital images of Escalante including some in which Escalante mocked his own vanity by taking selfies. "Greg loves to laugh," Swihart recounts, "and the whole thing was really just a lot of fun."

When it was all over, Escalante didn't give the photos a second thought: "I just forgot about them." he states. The painted portrait that came out of experience was everything that Escalante expected and more. Escalante, who feels strongly that Swihart is one of today's greatest painters, knew that Swihart had a reputation for producing flawless, mesmerizing portraits, and that is exactly what he got.

Portrait of Greg Escalante, 2014 Oil on panel, 12" x 8.5," Collection of Greg Escalante

But even before the oil painting was finished, Escalante got a "bonus" portrait that he hadn't bargained for. He opened his email one day to find that Swihart had photoshopped him into the indelibly memorable black and white news photo in which Lee Harvey Oswald is shot by Jack Ruby. Escalante appears on the left edge of the frame, gleefully taking a selfie while a tragedy unfolds behind him. As a parody of the extreme narcissism and self-absorption of self-selfie takers it works...

Selfie at the Oswald Shooting

Although the image was meant as a joke between friends, Escalante put the image on Instagram, and the reactions came quickly: it was really funny. Of course, some also took the image seriously -- as art even -- and the image ended up on display in an Arizona museum as part of an exhibition about guns in art.

Since the appearance of that first "selfie" Swihart has created well over 150 more images, placing Escalante in iconic photos, in the presence of celebrities and disasters, and has also inserted him into famous works of art. After an intense day in the painting studio, Swihart says that photoshopping the selfies are a way of "unwinding." Escalante agrees: "For Jon, making one of these is like smoking a cigarette." Many of the images have the flavor of time travel, including one that Escalante particularly savors: "The one with Dali and Frida Kahlo is my favorite," he explains, "I wish that had happened."

With Dali and Kahlo

The "selfies" series has given Greg Escalante and his friends a lot of laughs: it's a gag-gift that keeps on giving. In one offshoot of all this Escalante even has a new family that includes a baby boy -- Mofo -- born into the world with an Escalante hat and glasses. In subsequent images, Escalante's new "family" even includes a possum and a coyote.

With Baby Mofo

For Jon Swihart, the whole project has been a lark, and also a reputation changer. When he attends art openings and people say "I'm a big fan of your work" it is often the Instagram selfies that they are talking about, not his paintings. At the Gregorio Escalante Gallery in Chinatown, where 40 of the selfies are now on display along with a selection of Swihart's oils something remarkable is happening: viewers are breaking into uncontrolled laughter. Greg Escalante, who hears the laughter in his upstairs office reflects that "There are very few shows that make people just laugh out loud. People are laughing like they are at a carnival, from one end of the show to the other."

Escalante is a very good sport -- he doesn't mind being the center of all these jokes -- and in the process he has become the "Zelig" of Instagram, with time travel as his reward.

Instagram Selfies and Other (In)Famous Oil Portraits by Jon Swihart 
Curated by Wendy Sherman
978 Chung King Road
Los Angeles, CA 90012

Alex Kanevsky: 'Unstable Equilibrium' at Dolby Chadwick Gallery

Fishing in America, 2015, oil on linen, 44 x 66 inches

Alex Kanevsky, whose work is on view at Dolby Chadwick Gallery in San Francisco, is a virtuoso paint-pusher whose images seem to shift and morph across time and space. In his current exhibition, "Unstable Equilibrium," figures appear both indoors and outdoors, and are hoisted from the mundane into the mythical by Kanevsky's unexpected yet confident brushwork. A master of the alchemical possibilities of paint, Alex Kanevsky is one of today's most accomplished and dynamic representational painters.

Alex Kanevsky

John Seed Interviews Alex Kanevsky: When did you leave Russia to come to the U.S? How old were you?

I came to the U.S. In 1983, so at this point I have lived here the larger portion of my life: all of it in Philadelphia. When I left Russia I was 20 years old so, of course, I have memories of it. They are more sensorial memories than factual or narrative. I remember how things looked, their colors the light, the shadows, the smells, the textures. This filters into my work because these memories have emotional associations for me.

For example, I remember what color the shadows are on a cold snowy January morning and I know exactly how it feels. Or the smell of a certain particular variety of bread which also has a stable emotional association for me. In my paintings, when I want a certain particular emotional climate I use this library of my sensorial memories of that place in the past. Interestingly, it turns out that you don't have to have the same memories, the same past to be able to perceive the emotional significance they have to me.

Night, 2015, Oil on panel, 18 x 18 inches

Have you been more deeply shaped by Russian and European culture or American culture?

I feel slightly outside of the both, so I think if I was ever "shaped" by anything it was by my inability to identify with either culture completely. One foot in Russia and Europe, the other one in America, and both are not too firmly planted. What began as a disorienting experience when I arrived here "half-formed" as a person and as an artist, later became a liberating situation where I did not feel particularly deeply indebted to either culture, so I had to create my own artistic environment in which to function. At this point of my life I feel very connected to the American culture: its art, music, literature. The freedom, informality of it, its focus on intense personal experience, its love of understatement and implied depth. I love it all, it is a big part of who I am as an artist, but I didn't grow out of it, so I am free to pick and choose how seriously I wish to take any aspect of it.

Hollis, 2015, Oil on panel, 20 x 20 inches

Who were your teachers at the Pennsylvania Academy of Fine Arts?

Bruce Samuelson, Sidney Goodman, Murray Dessner, Robert Roesch, to name a few of the most significant for me.

J.W.I. in Her Room, 2015, Oil on panel, 48 x 44 Inches

Tell me about some of the developments and themes in your current work.

My show currently at the Dolby Chadwick Gallery is titled Unstable Equilibrium. If you have an orange and one of these smooth-bottomed salad bowls, you can drop the orange into the bowl and the orange will settle at the bottom of the bowl, in the center, where it will want to remain. You can push it, but it will roll right back to the center - that is a stable equilibrium. If you flip the bowl upside down, you can still balance the orange on the top.

However, when pushed, the orange will roll off and probably bounce off the table - unstable equilibrium. It will not return back to its original position but will instead produce dramatic and unexpected results. At the moment I am interested in making paintings that are a form of unstable equilibrium. You come to see a painting. Everything appears stable and harmonious for a moment. Maybe a little cryptic, like a narrative that doesn't quite add up.

The pieces don't connect into a coherent pattern, the statement, if there is one, is confusing. At this point a viewer assumes his or her own interpretation, contributing a narrative or a meaning from the outside of the painting. That meaning finds a resonance in the painting, like a face that reflects in a mirror suddenly in an unexpected way. The painting reflects what the viewer brought to it, and multiplies the impact of this contribution upon reflection. The orange rolls off the table. I am not quite sure if it is possible, but right now it seems to be a fascinating problem that I could enjoy whether I solve it or not, as an artist.

Conversation, 2015, Oil on canvas, 46 x 66 inches

Is the instability present in your work metaphorical?

No. Instability clearly exist. It's a sign of life. A metaphor is a fanciful language construct that I don't employ in my work. The painting language is very direct and clear, unlike spoken language, and therefore does not require the use of metaphors.

What are your interests outside of art?

Not many. I ride bicycle, I have a subscription to Philadelphia Orchestra concerts, I like a good glass of wine. I feel like this begins to sound like a dating service profile. Next I will tell you how I like to take walks on a beach... Everything else is an interruption of my time in the studio. Sometimes pleasant, sometimes necessary, but thankfully always brief.

Professor Charles Gallagher Vacationing in New England, 2015
Oil on panel, 18 x 18 inches

Which living artists do you admire?

Not in any particular order: Edwige Fouvry, Ann Gale, Cecily Brown, Leon Kosoff, Antonio Lopez, Adrian Ghenie, Frank Auerbach, Liu Xiaodong, Terry Winters, Brice Marden.

Alex Kanevsky Unstable Equilibrium
October 1 -- 31, 2015
Dolby Chadwick Gallery
210 Post Street, Suite 205 San Francisco CA, 94108

Hot Off the Easel: October, 2015 Edition

Hot Off the Easel is a monthly blog feature designed to showcase a cross-section of vital and varied contemporary paintings. - John Seed

Lisa Adams, Population 1, 2015, oil and spray paint on canvas over panel, 48 x 60 inches

"A reflection on our current environmental situation; like parasites we're exhausting our host into extinction." - Lisa Adams

Population 1 is on view as part of Lisa Adams: America the Beautiful, at CB1 Gallery, Los Angeles, September 12 - October 31, 2015

Aron Weisenfeld, The Messenger, 2015, oil on canvas, 13.5 x 13.5 inches

"I've been kind of obsessed with the flutist, the act of breath becoming music seems to have an
analogy in the cyclical transformations in nature." - Aron Wiesenfeld

The Messenger will be on view in Aron Weisenfeld's solo show at Galleri Ramfjord in Oslo, Norway. The show opens on Saturday, October 3rd from 12 to 2 pm.

Dana Schutz, Fight in an Elevator, 2015, oil on canvas, 96 x 90 inches
Courtesy of the artist and Petzel, New York.

"The image of this painting came through drawing, and it was initially inspired by the recent string of elevator fights, like Solange and Jay Z and Ray Rice and Janay Palmer." - Dana Schutz

On view at Petzel Gallery, New York as part of Dana Shutz, Fight In An Elevator, September 10 - October 24th, 2015

Yari Ostovany, Cantata Nr. 3, 2015, oil on canvas, 38 x 38 inches

"This painting is from a series (Cantata) which is a homage to J.S. Bach." - Yari Ostovany

Yari Ostovany's work will be on view at the Aria Gallery, Tehran, Oct 15 - Nov 1, 2015.

Adam Miller, The Song of the Cosmos, 2015, oil on linen, 86 x 44 inches

"This is a piece inspired by our attempts to dream a rational model of the universe that don't completely add up to a finished product." - Adam Miller

Devon Rodriguez, Ripped Jeans, 2015, oil on board, 16 x 20 inches

"I'm fascinated with the tendencies of the New York subway rider, weary, tactical and at all times avoidant." - Devon Rodriguez

Ripped Jeans will be on view as part of the exhibition Urban Life at the Abend Gallery in Denver, October 9 - 31, 2015

Christian Ramirez, Burmese Harp, 2015, oil and collage on canvas, 36 x 36 inches

"Burmese Harp is one of four paintings created with an interest in accessing alternate spaces via 'mystical portals', metaphors for an arena where time and form coalesce with meaning." - Christian Ramirez

Burmese Harp will be on view at Limited Ink Studios, Los Angeles, as part of 4 x 4 Painting, September 26 - October 17, 2015.

Jamie Adams, Niagara Pair, 2015, oil on linen, 60 x 48 inches

'The Niagara series initially came from a number of recollections: childhood visit to the falls, an old Ben-Hur picture book and Henry Hathaway's 1953 film Niagara. Niagara Pair is in response to the recent Ferguson unrest...." - Jamie Adams

Niagara Pair is on view as part of First Show: Detroit at the David Klein Gallery, September 17 - October 31, 2015
Shingo Francis, Deep Violet and Magenta, 2015, oil on linen, 31.5 x 59 inches

"The history of abstraction figures greatly in my work, with a notion towards the sublime in the monochromatic image." - Shingo Francis

Deep Violet and Magenta will be on view as part of Harkening Dusk and Twilight: Chris Sicat and Shingo Francis, K. Imperial Fine Art, San Francisco, October 1-31, 2015.

Kurt Solmssen, The Peach Tree, 2015, oil on canvas (diptych) 50 x 114 inches
Image, Courtesy LewAllen Galleries

"This painting was done outdoors from life, of our house and yellow boat, very early on summer mornings." - Kurt Solmssen

The Peach Tree is on view as part of Quiet Spaces: Christopher Benson, John Beerman, David Hines and Kurt Solmssen, at the Lew Allen Galleries, Santa Fe, September 25th - November 1st, 2015

Danny McCaw, Waiting, 2015, oil on canvas, 48 x 40 inches

The painting Waiting really is a play between reality and abstraction. In life we are constantly waiting for others, for their approval and their validation. It's in this place of waiting where we build are own abstract scenarios and magnify what others think." - Danny McCaw

Danny McCaw's work is on view at Sue Greenwood Fine Art, Laguna, September 20 - October both, 2015