Blog Archives

Free-play is to improvise with words, paint, steel, fabric, whatever. I never know exactly how a painting will turn out and that mystery is also a form of inspiration. Intuition keeps the momentum going. By letting go, you occupy a space open to possibilities–a great space to be inspired.

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Arizona Biennial is the oldest running juried exhibition featuring Arizona artists. The work juried into the exhibition was selected by guest juror Joe Baker, Director of the Mashantucket Pequot Museum and Research Center in Ledyard, Connecticut.

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New American Paintings is a juried exhibition-in-print. They work closely with renowned curators in order to select those artists whose work deserves to be seen by a wider audience.

Juror: Suzanne Weaver,  Chief Curator, San Antonio Museum of Art.

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Roadside Attraction is an art roadtrip of sorts throughout Phoenix, where select artists were asked to showcase new pieces around town — outside — that people can drive up to and view.

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This 20^th Annual Artlink Juried Exhibition has been a premier showcase for emerging and established artists. The members of the jury for this exhibition included Bentley Calverley, Liliana Gomez, Rembrandt Quiballo, Sally Russell, and Tricee Thomas.

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Masked in Nelson’s faux-naive style is a complex formalism designed to both present and obscure meaning. “Ambiguity and metaphor are central to my work,” says Nelson, “I think the ambiguous is more interesting, more engaging. Because there is always something more to discover it reveals itself more slowly and it has greater longevity.” Oddville Press Spring 2020.

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Would you tell me, please, which way I ought to go from here?’ ‘That depends a good deal on where you want to get to,’ said the Cat. ‘I don’t much care where -‘ said Alice. ‘Then it doesn’t matter which way you go,’ said the Cat.‘- so long as I get SOMEWHERE,’ Alice added as an explanation.‘Oh, you’re sure to do that,’ said the Cat, ‘if you only walk long enough.”― Lewis Carroll, Alice in Wonderland

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His imagery has a simplicity about it, but he works and reworks his compositions into a thick impasto and they become the record of an obsessive art-making process. Click here to read.

“’What becomes prominent and what becomes buried is intuitive,’ explains the artist. ‘I let the paintings talk, juxtaposing patterns, words and symbols to create a mishmash of meaning.'” Read the full article in Luxe Magazine here.

“It’s a method to charge the painting with pre-existing material, like textiles, pages from printed books, and other elements – to force the eye in different directions and create juxtaposed messages. First you need to destroy everything and then very quickly remake it again, from the beginning.” Click here to read.