To everyone who thinks I am an expert at evaluating the worth of any artwork (famous or otherwise) because I am an artist and help manage an art gallery, it simply is not true. Art Evaluation is a different part of the art business. So thank you for thinking I know so much. To get an evaluation of an art work you have or have just inherited, I recommend this website:
In 2016, I was awarded a grant to take digital arts classes at my local community college. I had always imagined making my own animated movies. Animation 157 turned out to be many, many hours of work and so much more complex than I had imagined. We used Adobe Flash CS6. To say that there is a steep learning curve for this software is to put it mildly. To me, it was like learning Chinese. But it was also great fun, especially with the vocal and technical help of 2 classmates, Sherry Sink and Laila Fabian. I know this video sucks, but it encourages me to keep making animations and get better at them.
Yesterday, while having lunch with an artist friend, I mentioned that it's been really fun and easy to complete the painting for my "Paint Like Monet Classes on Skillsharehttp://skl.sh/1W3zX6l With my own painting I struggle all the time. An Aha! moment which my husband calls, "A blinding grasp of the obvious," hit me. The reason it's so much fun to paint like Monet is that Monet has already made the difficult decisions about what color, where, how much paint to lay on, etc. All I have to do is paint in his style. That insight leads me to why famous art forgers are not considered great artists. There's no doubt they have great technical school. Those who copy Old Master paintings go to great pains to make the work look aged. Yet, the forger didn't do the really hard part of painting- coming up with concepts and working for years to realize them. It's easy to forget that Monet and others like him persisted despite public scorn and sometimes humiliation. The forger works in private. You get the idea.
Capon Capers oil on canvas 24x30" Sold
Today I sold "Capon Capers." I am happy, of course, but also feel bereft. The painting has been part of my life for 21 years and has moved with me from several times. I love it- it reveals my dark sense of humor with an underlying concern with the appalling way that American farm corporations treat the animals they sell as food.
This painting was inspired also my amusement that the French term for still life is "nature morte," which literally means "dead nature." I drew actual capons suspended from strings and made the capons dance - a "danse macabre."
Lots of people have thought the background is blood- it's not. At the time I painted it I was going through a love affair with the paintings of Pieter Paul Rubens. There were several Rubens paintings at one art museum in Berlin, Germany which I visited frequently. I so admired to glowing red pigments in Rubens' work. During his lifetime, it was rumored that Rubens' brush was "dipped in blood". I hope no one actually believed that. Oxidized blood is rust colored- not this passionate intense and pure pigment.
Over the years, people who saw this painting either really got the fun and darkness of it and loved it- or they were freaked out and accused me of suffering from some sort of trauma. I can't count the number of people who insisted they saw baby faces in the capons. Human brains are hardwired to make meaning from any shape. So I conclude some people's imaginations were working overtime. I do think the capons look a little like babies. In the grocery store they look so plump and pink and clean.
In Europe one often sees chickens with the head and legs still attached- leaving no doubt about the origins of the meat.
The husband of the woman who bought the painting fell in love with it. She told me he thinks the painting is symbolic of his life. He runs around like, "a chicken with its head cut off." My mother often said that's how she felt- especially when my sister, brother and I were little. The buyer was delighted I hadn't sold the painting as she is buying it for her husband's birthday next week- lucky man to have a wife who loves him that much.
I am happy that part of my history has found a loving home
"Wasseranschauung" (water meditation) 50x39.5" oil and acrylic on canvas $650.00
This painting is a companion peace to "Wasser und Erde" While painting, I imaged the rush and flow and churning of water. It swirls like music. The current seems to represent time rushing by and yet the water is eternal. I can hear the classical piece, "die Moldau" playing in my head when I see the finished painting- or Debussy's "LaMer"
Erde und Wasser 39.5x48" oil on canvas $700.00
Have you ever contemplated the depths and patterns of the beautiful blue green water of a swimming pool and meditated? When I was a new widow, I sat beside my neighbor's pool and stared into the water, wanting to be swept away into the comforting cool cocoon, to be soothed by this feminine element. Water gives life and takes it away. Water is healing and destructive. I wanted my grief to be healed by the waters. I was able to rest here and restore my desirefor living.
I was fascinated by the patterns of a lovely ball floating on the surface. It seemed like the earth and the water was a beautiful universe.
For years, my dear friend and one time partner, Britt Stokes and I drove Hwy I-35 between Fort Worth and Austin every other weekend to see his sons. I came to know all the farms and fields and collapsing barns along the highway- having observed them day and night, in all kinds of weather. I loved the evenings when a full moon would send a silvery glow over the fields. At night, the world seems primeval because you can't see all the technology of the modern world. This moonlit scenes transcends time and place and reality.
During Summer, 2012, Carolyn Brode and Lori Nerheim of the Waukegan arts Council, visited me at my studio. Carolyn wrote a great article and Lori look this video with her camera. I am honored to be the first featured artist on their website.