On Canvas Art

May 13, 2009

pictureframe On Canvas ArtCharles Veilleux wrote this exclusive article for us. Charles is the owner of Veilleux Fine Art. On May 31, 2009, Veilleux Fine Art transitions into a private artist studio tour business. Charles has owned and operated contemporary art galleries in Santa Fe since 1993.

On Canvas Art

Art a term that is used so broadly, not to mention Modern Art comes with varied opinions, revised histories finally noting the women artists of history, and many categories. So, were do we begin?

Having worked in the gallery world for 28 years and being an artist myself I am sure that my views are varied further to say the least.

Contemporary Art, also have many definitions, it can quite simply mean living artists. It has also become a term that catches art that usually is not representational. It also can mean artists that push media to the limits presenting them in a new and contemporary way.

So, art in the modern time encompasses so many things which are exciting, challenging, and controversial at times. This art is a deep expression of the artists creating in a world that for lack of a better word currently dwells on the negative which is often the exact opposite of most artists’ works. It is true that many art images are a direct reflection of the times with images that cry out for social change, this can also be noted throughout history during times of war, and crimes against man and nature.

Living and working in the Santa Fe, the second largest art market in the United States, I tend to look at art as beauty, uplifting and inspiring.

With that said, you can see almost anything in Santa Fe; from the roots of the Native American and Spanish history so very rich in the culture here to everything else. Having the only Museum dedicated to a woman artist, Georgia O’Keeffe, to the NM Museum of Art, and the International Folk Art Museum, and the Native American Museum to name just a few of many.

Along side of the museums are over 200 art galleries making Santa Fe an art center of the southwest. We have the pioneer galleries that brought contemporary art to Santa Fe before it was popular here to now having a very large selection of contemporary galleries including Veilleux Fine Art.

Often times I am asked about how to invest in art, or why to collect a certain artist, of do I think it will match the sofa? All good and important questions as you are selecting something very personal for your home or office.

My response is that you should buy art because you love it. All the other factors will work themselves out. If you collect what you love it will go with the sofa and the artist may be a noted artist in history one day. Of course it is always good to know what level an artist is currently, which is often reflected in the pricing of an artist.

Then there is always the current trend in art which seems to be Asian at the moment, so you will see serge of art in American galleries and museums. I often wonder why everyone hops on the band wagon with trendy art. With that said, there is room for all art as it is the creative expression of the artist weather we appreciate it or not. If art provokes emotion that it truly has done its job.


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Two Words from a Greek Painter

July 9, 2008

painting Two Words from a Greek Painter Yanna Brouzou is a talented Greek painter. She is also a member of my Yahoo Group. She said me: I am a classical painter (I do sculpture as well) and I am in search of a manager. There is no such thing over here! But that is all I need, you see artists usually are terrible sales people.

How many times I heard similar words… it is the typical condition of the artist, between two worlds, sometimes unable to reach completely one of them.

I paint as they used to paint. I do not use electronic tools, it is just me and my painting.

Yanna is a traditional painter, she sent me a portrait and an ink sketch (high resolution images, download to your desktop and notice the details). Beautiful samples! We have to help her! Send her a message to congratulate and to tell her your ideas about how we could promote her. You can leave also a comment here.

And now, read her words, her two words… about painting, Art and being artists.

Two Words from a Greek Painter

All I am attempting by these few words is to give you a true picture … of classical art, something almost obsolete and misinterpreted, but the little existing today is truly magical.

So let’s start from the beginning of time, when the artist in the caveman society was something like a magus. In those days, the dawn of men, instincts were unspoiled and true. These primitive people were in touch with the Universal Order of Things and they approved of any link that would uplift them. This uplifting is the reason of our evolution after all.

We should analyze what exactly is done by a classical painter/artist. We should analyze what it means to have inspiration, or to be vague of the environment while working, or why we think that it is quite normal for a classical painter/artist to be a little strange, hard to comprehend, but liked…

Well, it is quite simple really, you see these people live standing upon two worlds at the same time, one foot on one and the other on the other. I know this sounds ridicules, but follow me for a little longer, and think of your reaction when you visit an Art Museum. If you have not then do it, because if taken as it should it is a priceless experience.

Now let yourself free, and fall into the pictures. It may be a sunset, a clear day near the water, or the most moving of all a person feeling and transferring to you these feelings through time, always inspiring you to see something you may never have felt before, or to join you with something you are feeling.

This world of feelings is exclusive and by invitation only, invitation by the artist, and exclusive to the ones who are able to feel. You see this world belongs to higher frequencies and the artist is the link, the vehicle that can take you there, where the Universal Status of Things exist, where there is all we call transcendental, where you are inspired, uplifted and able to contact all and everyone you want.

That is all really, the artist is only a link in the chain, connecting transcendental with what you see around you. That is all… but, when you can see the transcendental then perhaps you can comprehend your world a little better.


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Art, Communication, Connectivity

February 28, 2008

pd2 thumb Art, Communication, ConnectivityMichael Marcus (also known as “Jacques Treatment”) is a published author, poet, artist, and game designer; with George McVey, he has been publishing comics as “The Hamtramck Idea Men” on the very sensible grounds that they live in Hamtramck, have many ideas, and they are men. Joint work can be found at http://idea-men.us while his earlier work sits at http://www.treatmentlabs.com.

Art, Communication, Connectivity

When first approached by Manuel Marino to write an article, I found myself excited in the extreme — first, because I had been noticed in the vast sea of high-noise/low-signal called the Internet as someone worth approaching, and second, because it would be an opportunity to promote the work that George McVey and I were doing with our comic books, games, t-shirts, and other fine arts, and third, because it would give me an opportunity to vent about the apparent lack of creativity in the comics biz and why we are producing the finest comic books in the field. Then, when I sat down to write, I thought I would write about my own particular love of game design and how it mixes the art (and in some cases, storytelling) with what is essentially a mathematical process to produce something attractive and entertaining without giving one player or another an inherent advantage. In the end, however, as passionate as I am about both subjects, attempts at writing the articles proved dry to any but the most familiar of audiences, and the last thing I wanted to do is bore people. Instead, the subject that came to mind is the one behind everything I do: communication.

Communication is inherent, even if it is nearly forgotten, in almost every work of art. Whether it is the artist communicating an idea to the canvas or, eventually, to an audience by means of the canvas, the interaction spawned by the processes of a good game, the telling of stories by a good book or comic book, or the conveyance of mood and message by a good song or other musical piece, it is the very fact THAT there is signal being transferred and translated that often gets lost. Whereas Marshall McLuhan may have said, “The medium is the message,” I would hold instead that it provides a context wherein meaning is derived — while a book may describe an experience, for example, a comic book or film may share the same experience more clearly, but the same message carries differently with the immediacy of dramatic theater, wherein the wall of the participants and the audience can find itself weakened or even torn down by force.

What, then, of surrealist work, or work done by surrealist means, wherein chance plays the greater part in creating the artifice than does a preconceived message? That depends on the type of work being attempted, whether it is to provoke a sense of whimsy or provide an initiation into an otherworldly space, whether it challenges the audience to “fill in the blanks” through a sense of mystery or negative space, or whether it encourages the reader to follow along with the author’s thought processes and achieve a similar critical or rational context along the same lines as the author. Where automatic writing encourages the latter, for example, Gysin’s “cut-ups” (wherein the pages of a written piece are quartered and refitted before publication) invite the reader to “connect the dots” and reassemble meaning, providing a disorienting challenge to the mind in the process. It is in this way that the surrealist confronts his or her audience with a work of art that engages the human tendency to attempt to make order from chaos, when the primary meaning is in the confrontation itself (and the secondary meaning is in the absurdity, whimsicality, or atonal nature of the process).

This, then, illuminates why I design games, write prose, paint, and create other things the way I do: They provide a context by which I might share an experience, or, more likely, the effect that something that I have experienced has had upon me. This is why I find that the most successful works that I have done are not necessarily those which I have created in a state of inspiration as much as those where I have had more of a dialog with the medium of the communication itself–that is to say, the pieces that seem to communicate best to the people who experience them, whether by being viewed (in the case of visual arts) or being played (in the case of a game), are the ones where I studied the piece itself as it proceeded, even if the result has less craftsmanship or less of my personal interest in the piece itself. For example, in my portion of the Hamtramck Idea Men art gallery the piece that has the most meaning for me is “Augmentation of Chaos,” which is gives chaos a “face” based on its connotations to me. The one, however, that seems to garner the most favorable interest is “Frustrated Joy,” which came to that title based both on the color scheme (the “Joy” in question) and how much it failed, at every step of creation, to become anything like my visualization and plan for the piece. It is as if the piece radiates my energy through the process of creation despite the fact that it has the least meaning for me.

If there is one thing that I have noticed with the advent of technology, it is that more and more experience come without the direct interaction of two people; the computer becomes an intermediary in most communication; this is true even in chat-rooms, where the users’ ability to edit what they say (at the very least, since some adopt alternate personae that they role-play) changes the nature of the exchange. Similarly, analog photographs lose some of their resolution (and with the advent of PhotoShop, still more of their original content), brush strokes lose some of the wondrous elements of their textures, and even digital sampling loses some of the fidelity of sound quality (even the best sample fails to be perfect). This is why, when I designed Gamer’s Dozen, I desperately wanted to create a set of games that anyone could play, face-to-face, at any skill level, with nigh-infinite replayability. I wanted something that facilitated communication and interaction between people without computer interfaces in the way. That, then, would have to be the source of my desire to create–to make a connection with the outside world, something that tends to be rather difficult these days.


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The Elegance of the Art

January 14, 2008

bedroom The Elegance of the ArtDoug Stahnke is a sculptor. And this is a wonderful exclusive article he wrote for us.

The Elegance of the Art

Let me begin by first defining some terms as I apply them:

talent – I think there is a simple truth here. You were either born with it or you weren’t. But talent comes in many varieties and categories. Many people have talents they haven’t discovered; or they have discovered them but choose not to pursue them. I believe everybody has some sort of talent. It could be painting, drawing, or sculpting. It could be singing, playing musical instruments, or having a special sense of rhythm. It could be cooking, designing fashions or in architecture. It could be in writing, film making, dramatic acting, comedy or magic. It could be one’s business acumen in financial management, marketing, design engineering or in leading a workforce. It could be very clearly in your dreams. This list could go on ad nausea.

passion – The drive to start, pursue and complete your next creation. An Artist without passion is a hacker.

hacker – One who is experimenting or exploring in an attempt to discover and develop one’s talents. If one’s initial experiment is critiqued as having even a modicum of beauty by even one reviewer, passion may start to grow. The downside is hackers can be very critical of their own work, which can kill their passion. This, in turn, may cause the hacker to bury his talents. Some hackers may create a work and then trash it, showing it to no one.

beauty – Is in the eye of the beholder? Many creations, even though the Artist has completed his work, start out ugly. The work can be transformed into one of beauty when just one person openly opines and says, “Now isn’t that a work of beauty!” If those folks who sloughed it off overheard this comment, they will likely take a second look, another taste, or even ask to hear it again. Then, hopefully a second person will soon chime, “I like it!”, with others hearing the appreciative praise. Then three, four, and five, etc., will follow in the appreciative. A work of Art can be transformed from ugly to beautiful starting with one simple, favorable opinion.

ugly – The reciprocal or opposite of beauty. One unfavorable opinion, openly stated, can negatively influence the acceptance of one’s work in a larger group. This can happen and carry many other opinions down with it.

Artist – One who creates something, with at least a modicum of passion, and asks someone else, “Well, what do you think?”

critical acclaim – The one person who stated your work had beauty, influenced another to pay money for your creation, while you were still alive. How frequently can you repeat such action? I don’t ever recall meeting an Artist who wished to reach critical acclaim only after they were dead.

media – Whatever stuff the Artist decides to use to create his work.

The Elegance of My Art

I am basically a sculptor. The roots of my talent go back to my childhood. I always liked to make something or build something. If someone else made something, I liked to take it apart to see how he did it. My current work is to sculpt crafts and pieces of furniture; write about what I’ve sculpted, illustrate it, make it into a “Set of Plans”, then sell the Plans through my Website. I call them ePlanSets. I want to have many people, all over the world, build, or sculpt my projects for their own enjoyment, just like I do.

Do I have any passion? It’s either that, or I am just plain nuts. My media is Plastic Pipe and Plastic Pipe Fittings. You know like PVC or ABS Plastic. It’s actually quite an easy media with which to work… for instance it’s much easier than working with wood. All of my designs are totally elegant. You can clearly see the elegance in my Table CenterPiece, my Candle Holders, the furniture in my Master Bedroom Suite, as well as many others.

One of my favorite, critically acclaimed sculptors is Michelangelo. I know, he was also a painter, an engineer and an architect, too. He would often consider himself a hacker because he was so dissatisfied with his work. I remember hearing a Michelangelo quote about his Angel sculpture, “I could see the Angel in the stone. All I had to do was chip away what didn’t belong to her!” Of course, Michelangelo works have all reached quite an enviable level of critical acclaim… even before he died.

Following the magic of Michelangelo, I frequently go to the plastic pipe fittings section, of the plumbing department, in my favorite home improvement store. There, I hold up some fittings, starting with like maybe a toilet flange, and very quietly say to myself, “I can see a lamp!” Or maybe, “I can see a Candle Holder!”

I am still waiting for my own Critical Acclaim to grow. So, what do you think?


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Inspired by nature

January 8, 2008

red coll 5qpt Inspired by nature Artist Robert Tucker talks about himself and his artist experience in this exclusive article.

Inspired by nature

The glorious portal of a new year is again upon me. My mind has wondered since the start of 2008 as to which direction my creative self will take.
For me a torrent of feelings were released in 2007 through the making of art. Every human being is subjected to art from the moment of birth until death regardless if they want to or not, the mean-spirited and soulful alike.
Working in both two and three dimensional art since childhood has given me a wide vista to express myself.

2007 started with exhibiting sculpture in a two person show in southern California. New Zealand, Texas, Michigan, France and Massachusetts all housed my collages in one venue or another. The year ended creating very personal mosaics of marble, tile and broken antique cups, something I had never tried before.

A year has not gone by that I can remember that collage was not part of my creative being. I have no doubt that collage started shortly after paper was invented in China around 200 B.C.
If memory serves me well the first paper collage examples known are the work of twelfth-century Japanese calligraphers, who prepared surfaces by gluing bits of fabric and paper to create a unique background for brushstrokes.

In the seventies I did some bookbinding and papermaking in my studio. Collage was often used in the fifteenth and sixteenth century in bookbinding.
George Braque and Pablo Picasso utilized collage at the turn of the 20th century making it popular and understood by the masses. Thinking back at the history of collage I cannot help but think of my personal history of collage which started at early childhood. My father was in the paper business so rolls, reams and stacks of paper were always around me, fuel for the imagination.

The fact that collage is different from other art forms because it does not dictate a particular style is an excellent medium for both the beginner and the experienced artist.
The multiple layers collage can offer an artist gives countless realms and realities.
Realms have always played a big part in my life, in my art, in my mind and my soul that is why the realm of multi-player online games took me by storm seven years ago. It was yet another avenue to express myself. I became so enthralled with these worlds/realms I became a writer/reporter for one of the largest gaming site in the world, Stratics.com.
This realm or shard afforded me a creative outlet were I could me anonymous. I was afforded that same luxury, pleasure by writing under a pseudonym for the website.

Many years back I remember a lady came through my studio during a tour hosted by the Junior League of a major art museum making the claim, “To be a great artist you must travel and travel often”. I thought the comment absurd then and I do today. I traveled to Egypt this past year and experienced the Nile River from Cairo to Abu Simbel. The textures, smells and sounds left an impression that is for sure from this exotic place. I live in my own little world like so many artists and travel has never been needed to take a journey and the journey is the seed for me. I can germinate in my own backyard just fine.

What will grow this year I still ask myself.


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  • blog traffic exchangeAn Artist Portrait (Part One) This is a fantastic article written exclusively for my Weblog by Frank V. Cahoj. Please feel free to comment here or send him emails. He'll be happy of this. An Artist Portrait (Part One) My name is Frank Cahoj and I have been an artist since I was born. I can......
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Digital Painting

November 9, 2007

Jeremy White wrote this article exclusively for us. Jeremy is currently in the throngs of several projects and sub projects in digital art (2d here, 3d there), computer programming, and some hobby-level music production. Actually, all of it is hobby level, but… who cares? I consider Jeremy a real artist in digital painting, read the article and you’ll know why.

Digital Painting

Hello! I’ve been doing digital painting for a surprisingly short amount of time, but thought that since I’ve got around two years under my belt, I might as well voice some thoughts on the subject. I’m only a hobbyist, but I’ve graduated to CS3 recently and have had a Wacom tablet for some time and it appears that’s the standard layout for most people.

I started art when I was very young in the sense that I enjoyed writing short stories and loved to try to draw Ren & Stimpy characters. Sadly, I let that die away when I reached high school and never really cared again for art until things came to college. I found myself so bored in calculus and other studies that I’d draw in my notebook. At some point, I got very addicted to drawing my dreams and yet I couldn’t get color because I didn’t really want to mess with paint in a dorm room. Anyone who’s been there knows that they don’t take lightly to anyone getting paint all over the furniture and I just knew that’s the kind of person I am. That’s right… my first impulse was that digital art was pretty clean. And I’m no neat-freak in any capacity. My room vacillates from messy to sterile several times a month.

So, going in to digital painting, my inspirations were people who did a lot of concept art and also landscapes. One especially prominent fellow comes to mind whom you can look at over here. An example of his 2d digital painting style is here. Some artists avoid stroke work and try to be purely realistic but I especially think the joy comes out when you can blend things fairly well. I’m trying to get there, but sometimes I veer off like in the art work of paper XI. A good tutorial of his method can be found here (I love this method too… forgive my bias here). Someone once told me “Wow… it’s like painting with pen-pricks of light”. I especially enjoy the feeling of wielding millions of little variable colored flashlights.

It’s an entirely different thing when you print your work out, but I prefer to keep it all digital when possible. I guess it feels cool to throw out something you did with no real cost on how many copies you make. I know that people steal digital media left and right, too. I don’t so much care about ‘pirates’, but when I say “steal”, I speak of those who claim they did a piece of work when in fact it was based on someone else’s effort or maybe entirely just a copy. It’s a very tragic side effect.

Still, it’s amazingly fun to look back from digital painting and smile and say to a traditionalist “Hey, does your oil paint have an Undo? My media does.” But sadly, when I go back to drawing on paper, I find myself searching for Ctrl-Z all the time and looking like a goofball.


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Artists Psychology

October 14, 2007

Here’s an interesting exclusive article Roland d’Humières, 56 years old psycho-analyst from Aix en Provence (France) has written for our Weblog.

I think it to be a very interesting writing about the artists psychology, or maybe “arts psychology”, what’s behind an artists mind.

Artists Psychology

Whatever is his/her Art, painting, music, dance, writing, or any other, whatever he or she chooses, this way is for an Artist, the most difficult activity he/she may choose in the life. Lot of people imagine that it’s an easy way to live…What a wrong perception of things!
Art is an unlimited way to express unlimited feelings of ours. Quite simple definition? Ok, let us see further on…

We are born in a civilization that strictly forbid emotions and feelings, since the birth:
Forbidden for a baby to cry, forbidden for preteens to feel, forbidden for teen to express themselves, then, forbidden again for adults to cry, to show feelings , endly forbidden for us to be sincerely what we are, deeply in our soul…

People learn to live without true, sincere, real emotions and feelings….

So, an Artist firstly have to find this famous inspiration. That means he must be able to find, to identify the most deepest feelings in his/her own singular beings, despite that was forbidden in his/her childhood, and remains forbidden already for the rest of the world… Easy? Try it!
Then, secondly, the Artist have to find his/her own way of expression. Here is the biggest difficulty:

As in this country of south-america where it is allowed to be “loco” but inside a real cultural codification, an artist have to find the best way to express himself, inside allowed codifications of the Art. As rules exist for everything, rules do exist for an artist in his /her discipline, as soon as society agree with it. So, to express unlimited feelings, the Artist is forced to use imposed standards! Great!!! Easy, did you say?

Here is the reason why the artist’s life is so painful. Allowed to express feelings, but with limited academic standards! Such circumstances do have a name in Psychiatry: schizophrenic situation. As well, everyone can understand why such genius lifes were so painful. Schizophrenia seems to be a professional illness, then…

When the Artist is rebel to those standards, the last wall to destroy is the misunderstanding of the other. He or she has to confront the other’s look. This “other”, you, me, everyone never learn to accept his own feelings. As well, never learn to express it… And those very others will judge if an artwork is or not a masterpiece? Unbelievable stupidity!

In fact, the art piece will, or will not, wake up our feelings, whether they enter or nor in echo with Author’s one. It fits or not, like a hazard game…. Like chemistry…
Then, the only way for us to understand art pieces, to appreciate it; the only way to help artists get possible through a patient singular work:

To be in a frequent contact with it, to tame our own feelings, and to open our mind to the other.

This has a name too: LOVE


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