Celebrating the Heritage and Practices of Traditional Fine Arts Worldwide
August 20 - October 26, 2024 Hilbert Museum of California Art at Chapman University 167 N. Atchison St. Orange, California 92866
This expansive showcase of over 180 paintings and sculptures is selected from hundreds of entries submitted by current qualified California Art Club members for review by a panel of art experts and leading artists. The final collection spotlights today’s most exemplary works by both renowned and up-and-coming artists.
Christopher Slatoff, Elisabeth Pollnow, and John Sumner
Phil Starke
Robert Gantt Steele
Sally Strand
N.C. Swan
Brenda Swenson
Alex Tabet
Nancy Takaichi
Bryan Mark Taylor
Sonya Terpening
Alexandria Trudgen
Michele Usibelli
London Vale
Cleo Vilett
Jordan K. Walker
Marlene Walters
Jove Wang
Renae Wang
Durre Waseem
Yun Wei
Yun Wei
Mary Kay West
Mary Kay West
Mary Kay West
Kirsten Whalen
Keith Wicks
Mason Williams
Wendy Wirth
Jeff Yeomans
Jeff Yeomans
Nikita Young
Antonina Zenin
Xiaolong Zhou
Ni Zhu
Peter Adams
Ode to Barbara Morrison; Jazz Night at Los Angeles Athletic Club
Oil on panel, 24" x 30", $20,000
The painting is a tribute to jazz singer Barbara Morrison (1947–2022) and the ensemble that performs together every Thursday night at Invention Restaurant located inside the Los Angeles Athletic Club in Downtown Los Angeles. I was honored to experience Miss Morrison’s inspiring performances on a number of occasions. This painting depicts one of her last concerts before her passing in March of 2022. It was a great challenge to paint under strong blue lights which I felt bathed the performers in a harmonic mystery. I had a lot of fun working on the translucency and abstract qualities of the drink glasses in the foreground. To complete the scene, I echoed an image of this painting on the back wall.
As the sun begins to set over the Pacific horizon, the ocean waves seem to rise up for one last energetic crash on the rocks. While the crowds gathered at La Jolla wait in anticipation for the sun to set, my eyes are always drawn to those breaking waves and the last vestiges of sunlight reflecting off the water. It’s an experience only captured by the mind’s eye and a quick swish of a paint-laden brush.
Carmel, California, on a late morning during King Tides. I had an inspirational day plein air painting a study for this studio piece. The power of the waves and resulting mist combined with a lifting marine layer, created a symphony of muted tones and a captivating atmosphere I was compelled to capture. I used an indirect method of painting over several sessions to layer the subtle value and hue shifts. The greys in this piece are the foundation for highlighting contrast, depth and mood.
This painting emerged as an effort to capture my daughter’s vivid imagination and love for reading. My hope was for the painting to appear welcoming and vibrant with just a touch of the dark and the dangerous. (After all, well-written stories are never “happy” all the way through - there is always some conflict or problem that must be overcome.) The circular composition and variety of colors and textures were all intentional aspects of the design. I included a dragon and a cicada, as 2024 is the year of both these creatures, and dragons are currently my daughter’s favorite thing.
Sunlight through the mist. Like gulls on the cliff, we watch. Hungry for big waves.
– Brian Belfield
Nanette Biers
Sonoma Spring
Oil on panel, 14" x 18", $2,300
This scene is on a ranch in Sonoma County that has been in one family for generations. I met the owner, Herb, in his 70’s, who rents out part of his land to sheep ranchers. I initially did three plein air pieces on his property—two old barns and a rose bower in front of their house. I love very big, very old trees such as these, and they are what drew me the most to paint this view. I also love the way the farmhouse is nestled into a beautiful glade among the trees. I enjoy painting greens, but the challenge for me in this piece was that it was basically all green. Variety is the key when faced with this, so I focused on mixing pools of many shades. The light blue of the house is a lovely counterpoint. Looking at this view, I want to be there, and I imagine I am.
I’ve lived in my home in Corte Madera since 1988, and this house down the street from me has belonged to a man named Steve for all that time. Every spring the front of his house bursts into a riot of color, and I’ve always loved that event. I have no idea why it took me so long to get around to painting it. There was a lot I wanted to squeeze in—the foreground flowers inside and outside the picket fence, but also the other layers going further back, culminating in the massive Cecile Brunner climbing rose over the curved window. I had to crouch down to get the shot I used as my reference, (not an ideal position to attempt a plein air piece). The ultramarine blue would seem to be too strong a color for a house, but somehow it works well on this one, especially in spring when the flowers’ colors engulf it. A delightful rainbow that was a delight to paint.
– Nanette Biers
Brian Blood
Garrapata Light
Oil on canvas, 24" x 30", $12,500
An easy hike down a dirt trail leads me to a perch high above the coastline. Nestled between poppies and sage plants is a cleared out area just off the trail where an artist can set up and take in this grand view. Garrapata State Park runs along Hwy. 1 just south from the Carmel Highlands down to Big Sur. Numerous hiking trails offer a wealth of possibilities for the adventurer and trained artist’s eye. The dramatic coastline with its rolling surf captivates its viewer and the sounds of the ocean calms the spirit. Garrapata Light is a scene I have painted many times over the past 35 years. At different times of the year, weather conditions, and times of day— it never seems to disappoint.
In my painting Red Glove I was inspired by lantern light illuminating a clam digger’s red glove. As dusk falls across the horizon, one may observe a warm glow fading to cooler darker tones. Clam diggers will use either a shovel or a hollow metal tube with a handle known as a “Clam Gun” to extract the clams out of the wet sand.
Bronze with electricity, 51" x 72" x 24" | 175lb, $60,000
This figure seems to capture the energy of our spirit within us. With the dark bronze surface juxtaposed to the golden light emanating from the cracks, it makes one see that we are more than just our shell; deeper than the surface of our bodies. It also speaks to the fractures or breaks that one endures in life, and that indeed we are still beautiful and unique in our brilliance. With his arms outstretched, Illumination feels like a moment in prayer, or an offering, or just the pure enjoyment of being alive and feeling the sun on his face. When we allow ourselves to live the life we were intended for, we will be rewarded with love and light.
I sought to capture the ethereal beauty and grace of a great white egret in flight. This painting depicts the egret’s wings bathed in the warm hues of the setting sun, casting a blend of pink and orange tones emphasizing its elegant form against the turquoise water. Soaring across the water on a journey towards new horizons, the egret mirrors our own journeys of self-discovery and transformation. It is a reflection of the fleeting moments of awe and wonder that surround us in our natural world.
ReOnion is painted from life as are most of my paintings. This particular painting developed in a very different way than many of my recent still lifes. I started with the onion in the white bowl on a simple background. I then added things and subtracted some along the way. The background was completely changed several times as I wanted more of a feeling of movement through the painting. It went from a darker slightly somber palette to a more chromatic palette as well.
There is a big gaggle of Canada Geese in Boise, Idaho, during the winter. One may find them in the most unassuming places. These birds were resting in the old Pioneer Cemetery in downtown Boise, which I found peaceful and amusing at the same time.
– Nikita Budkov
Christopher Burgan
The Final Rodeo
Oil on illustration board, 6" x 8", $770
The historic Golden Spur on Route 66, which existed as one of the oldest restaurants in Los Angeles County, closed its doors abruptly after 100 years in 2019. The iconic neon boot sign now represents a reminder of a time that has passed. Originally opening as a ride-up hamburger stand for patrons on horseback in 1918, it later transitioned into a steakhouse in 1954. Fortunately, the iconic neon sign avoided the trash heap and has since been restored as a standing landmark of a bygone era in the history of the City of Glendora, California and Los Angeles County.
– Christopher Burgan
Cathey Cadieux
Behold the Eye of the LORD
Pastel on Pastelmat, 19" x 25", $5,500
I viewed this moonset from my balcony at 6:00 am, just at daybreak. The title is taken from Psalm 33:18, “Behold, the Eye of the LORD is on those who fear Him, on those who hope in His mercy.”
Oranges were always around me when growing up in Southern California. We had more than a dozen trees in front of my childhood home that we took care of, harvested, and were nourished by. In this painting, I have tried to convey my reverence for their goodness, representing them with the honesty and integrity that they have given me.
It’s painted from life. I tried to portray a symbol of the bountiful harvest and the joy it brings. The composition exudes a sense of contentment and good fortune, inviting viewers to savor the beauty of nature’s bounty.
This is a piece done on a backpack trip to the Lake Ediza basin in August of 2023.
– Bill Cone
Taylor Correa
Rest with Roses
Oil on linen, 15" x 24", $4,600
In this intimate, quiet moment, a young woman has fallen asleep among a batch of roses scattered across a table. Perhaps she had been arranging them in the bowl, only to find herself weary and in need of a quick rest. Overall, Rest with Roses aims to capture the timeless beauty of femininity paired with the ephemeral, radiant quality of roses.
At the age of twenty I purchased my first set of oil paints. In many ways, Self Portrait at 30 is an accumulation of what I have learned in the ten years since then. For this portrait, I chose to paint myself from life using a mirror, as many artists have done over the course of history. To accentuate that it was painted from life, I chose to keep the edges loose and sketch-like. Over the span of four afternoons I sat and painted myself, noticing the subtle changes that would occur. Each day my hair would fall slightly differently over my shoulders, and the cool natural light would turn golden with the setting sun.
After I got out of school for the day I would jump on my bike and start exploring these canyons and hills. I am still drawn to them. There is so much hidden under those rocks and trees!
After I got out of school for the day I would jump on my bike and start exploring these canyons and hills. I am still drawn to them. There is so much hidden under those rocks and trees!
Among the inland coastal landscape of Morro Bay, California, wild turkeys forage in the undergrowth. Even though these birds often go unnoticed, I see them as rare and beautiful wildlife, begging to be preserved on canvas.
– Martha Cowan
Christin Coy
Moon Rise Reflection
Oil on canvas, 11" x 7", $1,100
Moon Rise Reflection was inspired by a wetland preserve near my home in Marin County. I will often go out on the day before the full moon to watch the moon rise while there is still some daylight, and while the setting sun creates a warm glow on the landscape. To me witnessing a full moon rise is one of nature’s special gifts to those of us who take the time to observe it. In this painting, the moon’s reflection in the wetlands adds to the beauty and sense of serenity in the scene.
In Memoriam (1949–2023) Signature Artist Nancy Seamons Crookston loved painting people of all walks of life. From restaurant servers to grocery clerks to street vendors, everyone was beautiful in her eyes and needed to be painted. Her Rhapsody in Blue, was one of her last works of art.
During certain times of the year, when the humidity is high, Mother Nature produces low lying cloud banks along the coast providing another layer of interest to these already beautiful vistas.
I was captured by the colors and textures that inspired this still life. The bright colors of the budgie against the old metal lunchbox, juxtaposed with the color and texture of the foliage of the eucalyptus branch and hydrangea in the copper pot form the background. With the use of a palette knife I was able to describe the textures and tactile qualities of each object.
What really inspires me about painting the landscape is the physical evidence of God’s supernatural presence in it. His power, creativity, and truth expressed in nature excite me with wonder, mystery, and hope for a better world than man can make. It is the spirit behind the appearance that quickens my creative urge. I know that my life will not be long enough to paint all that I have planned or desire to create. For now, for today, it is enough to work, both inside and out, on the vision that God has given me: to express the beautiful wherever I find it. My job is to express God’s Creation in my own work—and I love doing that.
– Rick J. Delanty
Karl Dempwolf
An Area Rediscovered, Pt. Lobos
Oil on linen, 27" x 33", $14,000
I had not seen this spot in the right light, but the over cast and high clouds made the vista mysterious and like so often getting excited about a vista, enough to want to paint it, depends on the time of day, the light, the clouds and the weather in general. The frame was hand carved and gilded in 22k gold by Petros.
I love watching the interactions of animals, seeing how they behave towards each other in their complex worlds that parallel ours. I observed these usually placid pelicans sparring for the top perch on a rock in the waters near Whaler’s Cove in Point Lobos State Park. These lumbering birds can be graceful and aggressive when need be, using their beaks as swords to spar with rivals to secure their spot in the pecking order.
– Kathleen Dunphy
Kayley Jane Garcia Dykman
Wena ‘Ula
Oil on linen, 24" x 16", $1,800
Wena ‘Ula in Hawaiian translates to “red glow, as of sunrise or fire.” This inspired my piece, where the vibrant light envelops the model despite the absence of the sun within the frame. My aim was to magnify this luminous quality, striving to depict the most saturated, glowing figure set against the vast sky. In my figurative art practice, I enjoy abstracting fabrics and patterns to create compelling contrasts against the form of the figure and emphasize traditional craftwork and designs. For this piece, I chose to overlay a quilt pattern known as Pua Loke Keiki— symbolizing the young rose, the flower emblematic of the island of Maui. Through her distinctly Hawaiian style from the quilt patterned mu’umu’u (dress), to the lauhala pāpale (hat) and heirloom jewelry, I invite viewers to embrace a sense of warmth and vitality reminiscent of Hawaiian landscapes and cultural motifs.
In the time-honored tradition of artists painting artists, Lani Emanuel has created a relaxed and informal portrait of fellow Art Center College of Design graduate, Christopher Murphy. Warmly engaging, with a natural gesture that suggests a lively exchange of ideas, this portrait captures a real moment—a small moment—of contemporary life. Created with a subtle touch, and a limited palette, this portrait is a timeless witness to the camaraderie that sustains artists and moves art forward: just as it has in centuries past.
Some slow, some fast, some big, some small, but all know the plan of the what and the how. With an inner drive, they rise through the tangle toward light, determined to be… to be ALIVE.
Painted on location in Big Sur just south of Nepenthe looking south, completed in two plein air sessions. This work captures a dramatic view of the incomparable Big Sur coastline, a thirty minute drive from my Carmel studio…Continent’s End – Big Sur.
This piece was inspired by a study/photographs done in Bucks County, Pennsylvania. I loved the light and texture of the walls. You finally rest on the blue pump against the rich greens of summer.
While visiting a friend, I was offered to pick from her apple tree for a still life. I visioned a clean minimalistic painting that highlighted the visual beauty of the freshly picked green apples. I added the drapery and eucalyptus for a dramatic play on light and shadow in my composition.
This painting captures the drama of Point Reyes Lighthouse atop a rugged cliff. Point Reyes is, by official records, the windiest and foggiest on the Pacific Coast. Therefore, on this rare occasion of a clear view, I was moved by the stark imagery of the lighthouse on the edge of a rocky cliff surrounded by great waves crashing around. It inspired me to create a composition that evokes a sense of both strength and vulnerability, as the lighthouse stands firm against the elements, a beacon of hope amidst the wild beauty of nature.
I conceive my art works in my mind’s and soul’s eyes, thus transporting almost a fully envisioned composition to a toned life size drawing pad. There the idea is drawn in charcoal and PanPastels, and occasionally color pencils, to define the idea. Once satisfied with the composition, I go to my prepared substrate and begin using washes of burnt umber and soft gray 5, on the value scale, to block in most of the objects. I follow with dead color layers (monochrome underpainting) keeping a keen eye on lights and darks. Local colors and transparent glazes are then applied for greater luminosity and mysterious, powerful shadows, resulting in works that enter our minds thus transforming our dreams into reality?
Eyes wide open, Moments of light weaving strands of shadows, Standing breathless in the midst of beauty, Holding it tight to gather its essence, I run up the hill, I kneel, bow and let the muse satiate my soul.
This painting Spring Storm in Tahquitz Canyon depicts a massive thrust fault rock formation that through millions of years of tectonic activity has shifted and elevated a long ago, dried up, shallow ocean floor to about a 35 degree angle. Today it looms high above the desert floor of the Palm Springs region at the base of the Mount San Jacinto Mountain Range. The Agua Caliente Band of Cahuilla Indians have called Tahquitz Canyon their ancestral home for thousands of years and is home to a spectacular seasonal 60 foot waterfall, ancient rock art, ancient irrigation systems, native wildlife and vegetation. The solid wood vintage frame is hand finished by the artist.
In March 2024 I visited the Vermilion Cliffs area in Northern Arizona to paint along with other members of Plein Air Painters of America. Due to inclement weather the other artists departed early, but I decided to stay. Although it was cloudy, late in the day there was a break in the clouds toward the Western horizon. I drove out to a view looking toward the Echo Cliffs that my fellow ArtCenter College of Design colleague Ray Roberts had shown me many years ago. There I was able to witness this dramatic moment as the day came to a close.
This painting captures the essence of a trailblazing rabbi—a woman who broke barriers and paved the way for future generations of women in the rabbinate. Her presence is a beacon of hope and inspiration, a reminder of the power of faith and determination to overcome challenges and make a lasting impact on the world. The iridescent, crowned Hebrew letters woven throughout the painting symbolize her deep connection to her faith and her ability to interpret and share the inspirations and teachings of Judaism. She has a soulful and calming expression, a testament to the courage and determination it took for her to achieve her dream.
Yosemite National Park is one of the most breathtakingly beautiful places I’ve ever visited. While it cannot compare to the feeling of standing there, looking up at the granite cliffs and tall boughs of the trees above you, I’ve attempted to capture some impression of the feeling of being completely surrounded by the natural splendor of one of Yosemite’s meadows.
This is a view from a morning stroll in San Diego. Aside from the morning light, I was captivated by the mysteriousness of the road that disappeared underneath the freeway bridge and the downhill perspective overlooking the distant bay and Point Loma. There’s a sense of tranquility before the hustle and bustle of the day begins. The sun was rising behind me causing delicate shadows. The street sign stands directly in the path of the light competing for attention. There’s much to see on a simple morning walk, views that reveal a new perspective in the city I live in. I’m drawn to the beauty and complexity of painting urban life and it’s my hope the viewer can get a sense of it.
As the sun begins to set in the desert, a saturation of colors begins to emerge until the drama becomes a brilliant display of contrasting chroma. Then in just a moment, they all fade to gray. This was that moment in the Anza Borrego, as the hills lit up and the floor of the desert cooled displaying that brilliant light as it cascaded into night.
– Robin Hall
Scott Hamill
Rhythm of the Sea
Oil on linen, 12" x 16", $1,600
There are few things more exciting for the plein air painter than standing at the easel next to the ocean. The sea dust in the air, the rhythmic crashing of the waves and the scattered light bouncing everywhere all combine to energize the paintbrush. This painting was completed alla prima and I hope the excitement I felt while creating it can also be felt by the viewer.
Just as the sun is setting, there is a beautiful interplay of warm and cool light. The subject’s face is primarily illuminated by the warm orange sun with the soft blue sky reflecting on the rest of the figure. These calm, serene and beautiful moments have always held a very special place for me. My hope is that when viewing this painting, it will transport the viewer to that time and place where they will see themselves and/or someone close to them.
The Amaryllis flowers were so beautiful I knew I had to paint them. When arranging my still life I chose complimentary colors and I knew I wanted to create a rhythm, which would lead the viewer’s eye to the star of the show, the Amaryllis. I chose each object for their shape, hue, and relationship to one another. Color has always been important to me as an artist. I think I succeeded in capturing the essence of this still life.
While strolling along the Tiber in Rome one November evening recently, having crossed the bridge lined with Bernini sculptures away from the Castel Sant’Angelo, heading back towards our hotel, the sun began to set behind the dome of Saint Peter’s Basilica. The beauty of nature and history seemed to converge in this moment that I knew I must capture in paint.
The view of the village was suffused with a warm glow. Just before sunset, the sky was filled with intense colors, the light reflecting off the rooftops below and casting streaks on the ocean beyond. I was intrigued by the subtle yet powerful way the land and sky blended together and wanted to capture that moment in time.
– Carolyn Hesse-Low
Susan Hoehn
The Savoy Lobby
Oil on canvas, 37" x 31", $6,800
On a visit to the Savoy Hotel in London several years ago, I found a portrait of two sisters by John Singer Sargent hanging in the lobby illuminated by candle light. The many different light sources in the room enhanced the textures of the furniture and objects. I was drawn to the way the light on the marble floor drew the viewer into the scene.
Quiky is part of an ongoing series of paintings featuring old pop bottles collected by my late brother and now in my possession. The wind-up rabbit’s ears and shadow echo the Sputnik-era vibe of the Quiky logo and the pairing makes me smile every time!
The light from the evening moon dances across the tidal wetlands. Despite their importance to ocean and coastal health, humans, and the economy, our beautiful coastal wetlands are quickly disappearing. Threatened by development and agriculture they are one of the ecosystems most vulnerable to climate change on earth.
On the way up Hwy. 395 toward Mammoth Lakes I made a left turn at Tom’s Place. Hikers gain access to the Eastern Sierras from the parking lot at the end of Rock Creek Road. Nature laid this inspiration at my feet as I stepped from the car. The late summer grasses danced at the edge of the creek; reflections of sky and pines created the perfect complement.
Evening’s Respite was painted along 17-Mile Drive in Carmel just past Fanshell Beach looking towards the iconic Cypress Point Club. This scene is one of my favorite places to paint especially in the evenings when the sun is gently setting. I love capturing the beautiful warmth of the sun’s final rays against the cool notes of the ocean. It is a very peaceful and serene moment in time.
A wave catches some of the last evening light. The low sun causes the whitecaps to cast shadows, bringing out color contrast on the surface of the water.
Reflections illuminate Carmel Bay at twilight, as seen from Carmel Beach.
– Kathleen B. Hudson
Gregory Hull
Alice Reflected
Oil on canvas, 20" x 24", $6,200
Two pack trips into Big Pine Canyon in the Eastern Sierras inspired this view of Sixth Lake and Mt. Alice.
– Gregory Hull
Richard M. Humphrey
Below the Falls, Yosemite
Oil on canvas, 30" x 30", $11,250
The sheer force and volume of water as it crashed through the rocks and trees created a heavy mist. As you stand next to it you can feel a palpable energy that suggests to you of something much larger than yourself and a creative order that is both beautiful and good.
The gentle movement of the schooner and the open expanse of the harbor invite the viewer to imagine the possibilities of a journey, evoking a sense of freedom and joy. The afternoon light casts a warm glow on the clouds and ship, enhancing the overall experience. Take this opportunity to enjoy the timeless beauty of the historic sailing ship and imagine yourself aboard. Hear the creaking of the floorboards, the flapping of the sails, and the calls of the captain and seabirds. Feel the breeze and the warm sun, and step into adventure.
Jodie Kain, a contemporary realist, paints emotionally charged figures utilizing skills from her classical and expressionistic training. Jodie works exclusively in the tactile medium of pastels. The accumulated experiences of her environment are the major influences on her work. The sights, smells, textures and, most importantly, personalities of the cities Jodie has lived in are captured in her paintings. Jodie’s work is grounded firmly in figurative depictions, built with light and mass.
There’s a saying that there’s something about the outside of a horse that’s good for the inside of a man (or girl). My intention in this piece was to evoke that feeling through the image of a girl and her horse sharing that unique relationship and enjoying a peaceful stroll through a golden meadow together. In this painting I hope to give the viewer a hint of that indescribable feeling.
– Laurie Kersey
Laurie Kersey
Sunlit Bluff
Oil on panel, 9" x 12", $1,700
My interest was in the layers of rugged bluffs, highlighted by the sunlight striking the distant bluff.
Struck by the stature of his first lighthouse, David was captured by the scenic beauty of the Maine coastline as the waves crashed over a massive rock formation; the wind moved across the glistening water and carried the salt air.
Sheryl Knight is an award-winning plein air artist painting primarily in oil, but also in gouache. She has earned the coveted status of Signature Member in five national art organizations and is an Artist Member of the CAC. Known for her expressive style and vibrant yet tranquil color palette, Sheryl Knight’s captivating oil paintings have earned accolades from prestigious fine art organizations, juried exhibitions, and major publications across the country. Having a passion for the landscape and just being outdoors has made Sheryl an artist who loves painting in the plein air tradition. Her individual style and paint application is a constant theme throughout her body of work, creating a consistency that is uniquely her own.
For those familiar with the Los Angeles River and its many unique crossings, this is the new 6th Street Viaduct with the 7th Street Viaduct and the Santa Monica Freeway overpass in the distance. Interestingly, the birds were not in the original painting as I wanted to focus on the shapes and the architecture. But after a conversation with friends visiting for dinner about the possibility of the birds ended in strong disagreement, I added the pigeons. The birds had won!!
– John Kosta
Chuck Kovacic
Bridge
Oil on canvas panel, 20" x 24", $4,975
Painted en plein air at Mendocino, California, on a late afternoon in autumn; completed in studio February 2024. The shoreline at Mendocino has always been one of shadow, intrigue, power and color. The most challenging of shoreline formations are known to artists as “keyholes,” which are openings that have either been worn or broken away within a rock formation, and amplify all the waves and currents that roil at its base.
This studio piece was from the 2023 Granite Group trip to Lake Ediza in the Eastern Sierras. On the hike in, the weather was quite overcast and a bit rainy at times. The Minarets in the background were at times completely obscured by the clouds and at times they were revealed. The moody scene and chance to work with a variety of grays made this an exciting and challenging painting.
This painting depicts a girl sitting atop the Empire State Building, absorbed in the music that pours out of her headphones. She watches the birds fly by and cannot help the desire to fly away herself. She begins taking off her shoes, readying her small but capable wings, eager to begin her next adventure above the noise of the world below.
– Mike Lee
Mike Lee
DUMBO
Oil and resin on panel and glass, 10" x 10", $800
I developed the resin on glass technique to create the illusion of looking out at the world through a window dripping with raindrops. I’ve always loved the feeling of being warm and dry while also being able to enjoy the effects that rain and snow have on the outside world. Precipitation tends to slow everything down, with sounds becoming more muted while the lights seem to come alive, creating reflections and shimmers that we don’t normally get. This altered state of perception hopefully allows us to take a breath, and observe our surroundings with a renewed appreciation.
– Mike Lee
YiChing Lee
The Curious Seven
Oil on canvas, 24" x 30", $3,500
We had the opportunity to visit a Maasai village in Kenya last year. The children there were so excited when they saw us. The foreign language we spoke piqued their curiosity, and more boys and girls gathered in the playground to meet us. Their genuine and carefree laughter accompanied the rays of the sun of Africa.
Newport Beach is a big, beautiful icon of a beach in Southern California. I wanted to focus on the harbor as well as the people learning to sail.
– Calvin Liang
Richard Lindenberg
Garrapata
Oil on canvas, 16" x 20", $2,600
Garrapata State Park has always attracted me to paint this iconic stretch of the Northern California coast. The rugged bluffs, turbulent seas and colorful succulents that descend to the cliff edges are unmatched. Whenever I’m in the area, I am compelled to spend an hour taking pictures or an afternoon plein air painting there.
It was a spring afternoon when I looked for a subject to paint. I feel these oaks are very appealing when they are backlit. The saturated foreground grass contrasting with the light purple grey backdrop becomes a so inviting spot to me.
Triptych pastel on archival board, 16.5" x 40.5", $11,900
The allure of the setting sun along the cypress trees in San Francisco’s Lands End. Inspired by plein air painting along the wild and often windy trails that offer spectacular views of the Marin Headlands, the Golden Gate and the occasional super bloom of wildflowers.
I love the cloud patterns of the Southwest and find myself inevitably painting them.
– Lee MacLeod
Robert MacPherson
Thank You Frederick
Oil on canvas, 18" x 24", $2,600
This painting was inspired by the historical work of Frederick Waugh and other past masters of the seascape including many members of the California Art Club.
In realms unseen, a girl takes flight, Her dress of pink, a vision bright. With lifted leg and outstretched hand, She dances with a feathered band. The Roseate Spoonbill, elegant and grand, Its feathers fluffed, a sight so grand. In waters still, they find their trance, An interlude of graceful dance. Through enchanted forest, leaves descend, Two more Spoonbills, their flight to attend. They soar with freedom, wings unfurled, Symbolizing dreams, in an enchanted world. With eyes below, the girl reflects, The wonder found in nature’s depths. In her wings, a symbol true, Of boundless dreams she can pursue. This painting whispers tales untold, Of unity, where hearts enfold. In strokes of oil, a message profound, In nature’s embrace, true beauty is found.
In a realm of hues and dreams unseen, A girl adorned, a vision serene. Shells upon her head, a crown of grace, Unveiling nature's secrets, in this sacred space. Pearls spill forth, like teardrops divine, Mapping her face, a symphony in line. Each precious gem, wisdom's gleaming light, Inviting contemplation, a poetic flight. Her gaze, a window to worlds unknown, Inviting souls to wander and be sown. A fusion of beauty and introspection, A tender reminder of nature's connection. Floating pearls, a dance of harmony, Interwoven tales, an eternal symphony. Ecological threads, fragile and rare, A plea for preservation, a heartfelt prayer. Tears of pearls cascade, a solemn plea, For the wounds inflicted, for earth's plea. A call to cherish, to heal, and to mend, o protect and honor, our world to tend.
– Alexandra Manukyan
Yigang Mao
The Beauty of Tibet
Oil on canvas, 34" x 28", $19,800
Entering Tibet is like stepping into another world. In that moment, surrounded by the majesty of Meli Snow Mountain (also known as Kawagarbo) and the purity of the young girl’s spirit, you are overcome with a profound sense of connection to something greater than yourself. It is a moment of revelation, a glimpse into the soul of Tibet.
The focus of my art has always been on people, particularly the way simple gestures communicate familiar feelings and experiences and thereby connect us. Beachgoers are a favorite subject and the beach an unending source of inspiration. I’m not only drawn to the interactions of people at the beach, but to the light, colors and sounds I find there. Two Girls on a Raft is a painting about the simple joy of a day at the beach. Here, the languid mood of lounging on a float in the clear blue water is interrupted by playful anticipation of an oncoming swell. I was particularly attracted to the way the sunlight shone on the girl’s skin and reflected off the water, and the movement and light on the water’s surface.
The beauty in nature of God’s creation has always fascinated me and I began to draw and paint at an early age. My father bought me my first set of watercolors when I was 14, so I am “at home” painting in this medium. My style has developed from the years of being a draftsman, graphic designer and illustrator - needing to be precise and working in all mediums including airbrushing. May you be drawn into my work and enjoy a few moments of this everyday scene that usually only gets a brief glance.
The beauty in nature of God’s creation has always fascinated me and I began to draw and paint at an early age. My father bought me my first set of watercolors when I was 14, so I am “at home” painting in this medium. My style has developed from the years of being a draftsman, graphic designer and illustrator - needing to be precise and working in all mediums including airbrushing. May you be drawn into my work and enjoy a few moments of this everyday scene that usually only gets a brief glance.
– Yolande McAlevey
Patricia McGeeney
Peruvian Rug with Green Pottery
Oil on linen, 24" x 20", $3,800
This painting depicts a collection of some favorite objects that reflect my love of travel and pottery. A still life can be more revealing than what meets the eye. It can be simple or complex, bright or moody, thought provoking or a portrait in and of itself.
With my still life paintings, I am examining how symbols are interpreted by individuals and through the lens of cultural dogma. With Pop Corn I was interested in showing how the wholesomeness of the family farm, with Pop at the wheel of the tractor, contrasts with the commercially processed foods made from that crop.
My intention is not to promote a particular concept or ideal, but to inspire viewers to analyze and contemplate everyday objects in new ways. I use puns and silliness to reward the viewer for looking deeper, and I take great pleasure in rendering that silliness with the upmost craftsmanship and skill that I can. The art of serious fun.
– Elizabeth McGhee
James McGrew
The Ahwahnee and Tissiack, Winter Nocturne
Oil on birch, 5" x 7", $875
In early 2024, I set up in the moonlight with a headlamp and clip-on book light to paint this scene of the warm glowing lights emanating from the Ahwahnee Hotel. A waxing moon illuminated the granite cliffs and snow with Tissiack overlooking the scene. Tissiack is the name for Half Dome in Yosemite Valley given it by the Ahwahnechee people of the Southern Sierra Miwok Nation.
– James McGrew
Jim McVicker
Studio Self-Portrait
Oil on linen, 48" x 40", $20,000
Self-portraits are always a very personal experience. This work started very close to as seen here in the finished painting. I did add a few items to the table top, and my wife Terry was sitting in the chair, a chair I grew up with as part of my parents dining set. I always work all over the surface as I develop the painting. As it progressed, and Terry’s image developed, she began to feel cramped in the overall design. I asked her opinion and also how she felt about me removing her. She felt the same as I did, but it was a difficult choice. I moved forward with this new idea. The amaryllis is a very meaningful and important flower for me, as my best man at our wedding in 1988 gave me one. I did a painting of it and have painted at least one every year since. At the time I was working on this, the red amaryllis was blooming in my studio. Once I painted it into the work, the painting started to breathe. I feel Terry’s presence.
View from atop a hill looking toward San Francisco Bay, with Alcatraz in the distance. The dramatic perspective unique to San Francisco offers many compositional possibilities. On one clear, calm day the color of the Bay was a striking blue, which I identified as reflective of what made San Francisco so special.
– Terry Miura
Kelley Mogilka
A Delicate Balance
Oil on linen, 30" x 20", $4,500
My mother once told me, “The best art rests on the line between joy and sorrow.” In this painting, I wanted to illustrate that duality of emotion through the intensity and softness of color, light, and human expression.
Deep in the Ansel Adams Wilderness, above Ediza Lake and off of the faint trail to Iceberg Lake, is a truly magical view -- Ritter and Banner holding court, presiding over their kingdom of beauty.
– Charles Muench
R. Mike Nichols
Frenchie Profile 3
Watercolor on paper, 6" x 6", $350
This is our French Bulldog Quorra enjoying the sunlight on her face.
– R. Mike Nichols
Erica Pollock Norelius
Late Afternoon Ride
Oil on canvas, 30" x 48", $6,400
The urban environment is a fascinating subject. Man’s presence is seen everywhere, from the people on the street to the buildings that were once only ideas formed in the mind. The synchronistic flow of energy pulses through the streets as pedestrians and cars weave their way through the city. This painting represents a city in Mexico, capturing a moment in time as the bike transects the main road. Pedestrians, cars, and motorists coexist in the moment, as the golden yellow of the sun highlights the impermanence of the moment.
Being a native of Southern California, I have grown to love the city of Los Angeles, especially as an artist. This view caught my eye as I was heading up the 5 Freeway through Boyle Heights, east of downtown. The afternoon sun shimmering on the streets of the neighborhood close by, with the towering buildings of DTLA rising in the warm haze was a painting-in-the-making for me.
– Michael Obermeyer
Michael Obermeyer
Changing
Oil on canvas, 11" x 7", $1,500
Painting the figure allows me to have more direction and control than painting the landscape yet also challenges my skills in drawing and composing the model.
Rodeo Rose was a young lady competing in a Cutter Event in Junior Rodeo. I was impressed immensely how focused and calm this young lady was before the competition. She was a picture of grace and fierce competiveness.
Having spent many summers at this beach during my high school years, painting the Huntington Beach Pier brought back many happy memories from that time. My friends and I often met and rode our bicycles from our homes in Long Beach to Huntington in the morning. We spread our towels on the sand and spent the whole day socializing, swimming, and playing in the warm ocean, some of us on boogie boards. This scene brings back to mind that time of day when we would all be thinking about getting back on our bikes for the journey home. Our bodies tanned from all the sun, and a bit dehydrated, we rode home and planned for the next days’ adventure. Ah, those were the days! Today, I’m married to one of those friends!
The “scroll” format of the painting and the choice of objects in this still life were influenced by traditional scroll paintings of China and Japan. I liked how the strong horizontal direction of the twig served a connecting role between the persimmons with the delicate tea cup. It grabbed my attention and was a visual attraction for me in this painting. I focused on arranging objects around warm colors. The celadon cup provided a subtle contrast to the orange colors of the persimmons and ivory colored silk draperies. With the viewer I strived to share a feeling of peace and tranquility that I experienced while painting this still life.
Malibu Pier as the sun is setting. Activities on the beach slow down and the dinner rush is about to start. The effect of light is something that continues to draw me in. It makes any place or subject matter come alive and filled with added drama, and it’s a reminder of the hope and beauty that’s so important to look for in our everyday life.
Painting International Orange was a daunting task to say the least. I really lucked out with the weather when I shot the photos for it because the day before it was socked in with cold dripping fog. Instead it was a lovely winter afternoon with minimal wind and great light. I didn’t want to do a painting of it that was like the kitschy/touristy angles that we’ve all seen so many times before of the iconic Golden Gate Bridge. Once I walked underneath, I knew that was my view.
Color that expresses the light key of nature can make any subject strikingly beautiful. Under the guidance of my teacher, Henry Hensche, a renowned colorist, I’ve dedicated over 35 years to refining my craft. Residing in Sonoma County, I’m surrounded by abundant subjects and endless inspiration. This painting showcased in the Gold Medal Exhibition was inspired by a photo I captured at the San Juan Capistrano Mission. Rather than simply replicating the image, I drew upon my extensive experience painting en plein air to infuse it with depth and emotion. My aim was to capture a tender moment frozen in time.
In Memoriam (1947–2024) Signature Artist Camille Przewodek was a trailblazer in the contemporary California plein air movement. Her legacy endures, illuminating the art world and inspiring future generations.
This painting is about the vivid colors one can see on a sunny day in the spring in Southern California. The early California landscape painters were mocked by East Coast critics for their use of bright colors. I take pleasure in pushing the brilliance of watercolors to the edge of gaudiness (and hopefully not all the way there) to express this glowing place.
Bronze and cast crystal wings on granite base, 23" x 15" x 18", $15,800
Through sculpture I seek to explore one of the fundamental dualities of human life: bitter and sweet.
The human form is my muse; I study the physical exterior that reveals the sacred inner self. As I shape and cut into clay with handcrafted wooden tools, I compose dynamic gestures eager to explore the very breath of life, the persona in three-dimensional form. Like our true selves, my work has no pretense of perfection: tool marks and fingerprints characterize the gritty edges of our beautiful lives. Though I have ultimate control over the outcome, my pieces inevitably contain elements of mystery, shadows of the stories shared between model and sculptor. Our lives are defined by the highs and lows of relationship. Despite the struggles we face, my work evokes the wholeness and goodness of who we are.
Here a child holds a stuffed animal, but desperately longs for the companionship of a real dog. In this painting I explore a sentiment that I witnessed during the pandemic, where isolation led many to seek solace in the company of pets, revealing the innate human need for connection even in the face of unexpected challenges.
Bronze, edition of 35 on wooden base, 18" x 20.5" x 9", $5,500
The Marwari horse is found in India and there are less than 5,000 in the entire world. The tall horse is slim and sleek with large eyes set wide apart, flared nostrils and unique ears curved inward so the tips almost touch. The breed originated in the Marwar region of India and was developed by the Raiput’s warrior clan in the 12th century. Despite being known as a warrior’s horse, they are known to be loyal and friendly.
Springtime here in the foothills of the Sierra Nevada; trees are leafed out, pastures are still green, temps are warm in the afternoons and occasionally you’ll get a field of golden poppies.
Whether a simple moment in everyday life or people enthralled in activities they love, the figures in my paintings are fully engaged in something quiet and thoughtful. In this grand setting within the Getty Museum in California, the two ladies are considering the masterpieces surrounding them in one gallery, while more art, still unseen, beckons from the gallery beyond. With this piece I aimed to portray the richness and abundance of the Museum – the heavily gilded frames, the splendid works of art, the deep crimson walls, the sparkling marble sculpture - all part of the grandeur and elegant atmosphere I hoped to capture.
I’ve been in the habit of painting people in my life for the last 40 years or so. On a recent visit to Scott’s home and studio in Los Angeles, I decided to paint his portrait. In a way, the subject of this portrait is the light. As I often do, the portraits I paint of artists reference in some way the work that they do. In this case, it’s the temperature of the light that he uses in his work that I referenced.
Fishermen casting their net is a timeless pursuit, a skill passed down from one generation to another, evoking a sense of tradition and camaraderie. The bright sunlight dancing on the ripples adds a little bit of magic to this snapshot of a peaceful day spent on the water, where time seems to stand still and the beauty of nature takes center stage.
That shapes of paint can not only create an illusion of form but also convey an emotion to the viewer makes representational art one of the most transcendent and magical of human activities! I feel privileged to pursue this calling.
My first visits to the California coast starting about a decade ago were during years of persistent drought. I grew to expect tawny hillsides and dust underfoot, much like drought years in Montana. So, it was a wonder to visit a familiar stretch of coastline this past June during an explosion of wildflowers. I’d never seen the coast blanketed in a riot of color! Over the next couple days, I drained my tube of cadmium yellow in one plein air painting after another. The late-afternoon study for this pastel painting was the last I did before heading in to prep for a workshop starting the following day. I couldn’t wait to show students this coastal abundance! I woke up to another reality: June gloom. Grey skies and coastal fog, I’ve learned, is the price that must be paid for the proliferation of flowers along the coast.
In midsummer, the colors of California have transformed from vibrant spring greens to the dry hues of our golden state. This painting is an exploration of that golden glow across the Ojai Valley.
Cattle Ranching is a way of life in the Owens Valley that dates back to the late 1800’s and the first homesteaders. Today, there are fewer ranching families, but it’s still very noticeable if you drive up Highway 395 on your way to the Eastern Sierra. Cowboys are seen here moving cattle as the sun sets on the Inyo Mountains near Lone Pine.
This painting’s message is all about the time of day—my favorite time of day. Walking along the shore in the mirror-like wet sand. Watching the sun slowly sink into the distant marine layer clouds at the far horizon. I am filled with gratitude as I am reminded of the grand plan of nature. I wait with anticipation for the great return of it all.
Some local boys heading out to The Boneyard. There is a magnetism in looking at glare; a near magical calm. I will sit and watch for hours the ocean’s dance of light. Our trouble seems smaller, our thinking becomes clearer. I enjoy recording those feelings, absorbing those moments..
Victoria Beach Sunset was painted in south Laguna Beach. Sunsets are one of my favorite subjects to paint. I wanted to capture the beautiful moment of the sun’s light reflecting in the ocean—pure magic.
Family is important to me. It fulfills my longing to belong and provides deep emotional connections. I vividly recall the warm, sunny day of our first grandchild’s first birthday, a milestone that filled me with wonder. It marked a new chapter as my son embraced parenthood, surrounded by friends and family celebrating this new life phase. Our backyard, a treasure trove of memories from holidays and family events, served as the perfect setting. Even our beloved dog, who had passed on, was symbolically included in the painting, reminding us of her lasting presence in our hearts. Having celebrated countless milestones for my own sons, it’s now their turn to create joyful moments. As grandparents, we delight in observing and cherishing these new celebrations, relishing the continuity of family traditions and the promise of future memories.
Amazed at the pile of packaging accumulating on my doorstep in 2020, I both laughed and shed a tear at this sign of our changing times. The ever-growing tower of recyclables, artfully stacking itself at my door, inspired me to commemorate this obvious tipping point in our shopping traditions with a little watercolor, as acknowledgement of the new normal.
Watercolor and acrylic (UV varnish) on watercolor board, 12 x 12", $1,800
Being a painter is more than mastery of techniques, it’s my desire to communicate how I feel about my world and my response to it.
– Brenda Swenson
Alex Tabet
Afternoon Slumber
Oil on panel, 16" x 20", $2,900
A young woman, nestled in a bed of plush cushions, succumbs to the allure of midday rest. With eyes closed and a gentle smile gracing her lips, she surrenders to the tranquility of slumber. Every brushstroke captures the delicate interplay of light and shadow, evoking a sense of serenity that envelops the viewer. Afternoon Slumber is an ode to the beauty found in moments of quiet repose.
– Alex Tabet
Nancy Takaichi
San Pedro Square
Oil on linen panel, 14" x 18", $2,800
I’m very honored to be in my first Gold Medal Exhibition! San Pedro Square was painted in San Jose, my hometown. This street is closed to traffic, so I could step off the sidewalk into the street to see unobstructed buildings. I picked my spot carefully. I loved the bare trees against the blue sky and the light and organic shapes against straight edged buildings. I gave the right side more space, and balanced the left with more color. The potted plants hold the eye in the canvas, while relating with the green tree on the right, creating diagonal movement. These were my thoughts as I blocked in this painting. I painted the people—a composite of everyone who walked by—and it then had a pulse. But the final touch was the bling! Adding the string lights was like putting on a sparkling necklace; it came alive!
Downtown L.A.captures the vibrant essence and structured elegance of Los Angeles’ urban core. This painting explores the intricate design and inherent order within the bustling cityscape, where towering skyscrapers meet meticulously planned streets. Through dynamic brushwork and a rich color palette, I aim to convey the rhythm and energy of downtown life, highlighting the harmony between architectural precision and the organic flow of city dwellers moving through their daily routines. The interplay of artificial and natural light reflects the city’s unique atmosphere, inviting viewers to experience the pulsating heart of Los Angeles from a fresh perspective.
An Oracle is a person, agency, or priestess that acts as a medium for advice or prophecy from the gods. This sculpture serves as a place to reflect on: the existential; the personal and collective consciousness; the spirit and the mind; and our connection and separation from this world. The Oracle is a personified depiction of many spiritual ideas and symbols working harmoniously. It is a space for coexistence.
I captured the inspiration for this scene while acting in a project that shot in the western Mojave Desert. This popular shooting location was built in 1990 for a film starring the actor Dennis Hopper, who was himself a prolific visual artist. The cinematic subject also alludes to the desolate American scenes depicted by painter Edward Hopper. I love that it combines visual and performing arts on multiple levels, and in doing so connects both of those parts of me.
A view I’ve seen a thousand times while hiking at sunrise. It is never the same and it is never disappointing. The East Bay Hills offer countless trails like this one, leading us up and away from our busy, city lives.
Late evening waves crashing not only on the border between land and sea, but also near the border between Oregon and California!
– Jordan K. Walker
Marlene Walters
Appeal of Tomatillos
Oil on cradled panel, 16" x 16", $2,100
Sensory connections are in-play here—the smooth flesh of the fruits contrasting with paper-thin crisp skin. A myriad of warm and cool greens placed on a milky-white plate. Each fruit casts beautiful shadows on the plate and shapes on one another, alongside reflected light. These relationships make for an interesting, challenging study. A vivid blue background heightens the suggestion of sensuality—what these oddly shaped, unusual fruits look like, feel like, smell and taste like. All these things are part of the process of depiction.
Night Flight encapsulates an odd yet universal experience many have frequently had on planes: waking up from a nap alone on a long flight, struck by a strange sense of melancholy.
I love painting at the fish towns. There is a serenity in the sounds of the birds and boats that plays as backdrop music while I solve the jigsaw puzzle of the mast, ropes and the net creating an intricate design.
I have been inspired by the Dutch Golden Age still life artists such as Willem Kalf and Willem Claeszoon Heda since high school. Throughout my art career I have always been so obsessed with the traditional painting technique. Every time I stand in front of a master’s painting I always 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 into my work 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.
My love for still life started with designing objects and furniture. I enjoy studying light, shape, and composition between objects. Every time I finish a sketch, I look forward to officially starting to draw it. Painting is like an opera to me, with each step corresponding to the beginning and the climax until the end. I hope my paintings can bring this feeling to the audience.
This painting portrays a sense of peace, hope, and new beginnings. The color of French linen is very calming, and just off-white enough to allow the white roses to show their purity. Bluebirds are a symbol of peace and serenity while their nest speaks of things to come.
On the weekends I paint with my daughter in our small studio in Santa Barbara, where she lives. She brings an audio playlist. This day, she had a track of Jefferson Airplane's "White Rabbit". What a host of memories, feelings, and association that song brings up for me. I immediately started this painting with that music, and replayed it constantly during the finish of the work.
As a painter, I am drawn to still life as a form of narrative and am fascinated by objects and their power to tell stories. I have always been interested in the human stories we have deduced from the objects and artifacts of history and different cultures. I look for objects that I can use in my compositions that reflect our common stories, the memories, dreams and wishes that we all share.
Kirsten Whalen holds degrees in Design from the University of California, Davis, and Fine Art Drawing and Painting from Laguna College of Art and Design. Her background in the graphic arts and publications is evident in her fine art work, in which she combines a keen eye for composition with deft touches of humor.
In the heat of summer, these sandstone cliffs offer more than just a respite from the sun. These towering cliffs, combined with blooming violet wildflowers, showcase some of the most graphic shapes and bold colors of the American Southwest.
– Mason Williams
Wendy Wirth
“Luminescence” – Laguna Beach Shoreline
Acrylic on panel, 8" x 16", $3,900
Along this famed stretch of cliff-lined coast, there are sunsets that truly dazzle the eye. The most exceptional of these coves possess a narrow depth of shore that creates an intimacy with the viewer—as if the interplay of water, sand and sky is theirs alone to experience. Here my imagination was captured by the brilliant color palette mirrored in sky and shallow surf, as if the final breath of sunlight was conveying life into the wet sand. Painting this scene was an exploration in color and light play, contrast and quiet. In my mind, I can still hear the hush as twilight waited to descend. Day’s end, especially twilight, has always held the most appeal as subject matter. It’s the singular enchantment of day meeting night that reveals both a finality and a sense of timelessness—offering a sublime invitation to capture the moment in paint.
The Ocean Beach pier is closed and damaged. Its fate is unknown and the debate to replace it is ongoing. I wanted to document its golden years before it is gone. The golden hour and a cloudbank added some useful drama.
My desire for this piece is to show my reverence for Abraham Lincoln, one of the greatest leaders in American history. He displayed an extraordinary compassion for humanity.
Inspired by a plein air study, this painting captures the serene moment of an afternoon glow as cormorants settle on the rocky Malibu shore. The canvas is alive with the quiet energy of the evening, with the water softly reflecting the sun’s gentle radiance. It’s a tranquil scene that invites contemplation and a deep appreciation for nature’s daily spectacle.
The pasture in spring seems to be covered with a large green carpet. I used the curves formed by the cloud projection and the embellishment of the cattle to make the picture more vivid and beautiful.
I paint ordinary people in their own world. A homeless guy bathes in the sun on a park bench, and smiles at the passersby. A young boy experiences the Chinese New Year parade, captivated by the vibrant crowd. A butcher focuses on cutting a piece of meat with precision. These individuals, deeply engrossed in their personal experiences, possess an authenticity and dignity that is intrinsic to their uniqueness. They exist in a realm that is simultaneously separate from and open to the world around them. Their brief and casual interactions bridge the gap between the observer and the observed, inviting us to connect with their stories on a profound level. I delve deep into the subtleties of composition, color, and brushwork to convey the mood, atmosphere, and emotions inherent in each scene. It is my goal to find the sparkles hidden within the mundane, to capture the fleeting moments of beauty and mystery, and to communicate with the viewer on an emotional level.
