"The main theme I explore in my abstract expressionist paintings is my reaction to the suppression of my humanity. The tension of my oppressed (Pentecostalism vs. Western main stream pop culture)and hybridized identity, (immersion and assimilation with five different cultures), my paintings come through full of chaos, anger and brutal honesty. They are images of a search for my personal truth of what it means to be a living, breathing, human. The wholeness of it which includes the good and the bad.
I express my reaction to the suppression of humanity via mixed media, color theory, and elements of design, which I derive at by pure intuition"
To put it simply, I make pretty things.
Earl Chuvarsky is a fifth generation Colorado native and trained artist who has been showing professionally since 2010 but has been creating for much, much, longer. Favoring painting from memory over photo references Earl’s work concentrates on the figurative and portraiture to help reveal what drives us at our very core: love, gratification, rejection, curiosity, selfishness, guilt, and acceptance. Common threads of the human condition which bind us all together.
In my work I use strong shape, line, and color. I want the imagery to be vivid in an attempt to evoke a passionate response in the viewer. The concept for each piece is conjured up from strong emotional responses to both internal and external stimuli. It can be born out of a dream, from a reaction to a photograph, a life experience, or from a desire to capture a particular feeling or physical act. I attempt to convey these emotions by using a multitude of mediums, textures, surface materials, and reference material. I start each piece by layering in as much of he imagery and emotion I feel, see, or remember quickly and with little attention to keeping the imagery instantly recognizable. Through a process of reduction and addition I strip away and layer over existing elements, add strong representational imagery, and then reduce and layer again. Often I repeat the same image over and over using repetition to create a sense of movement and depth while giving weight to the subject.
I am a Denver based artist who recieved his BFA in graphic design from Kansas State University in 1998. Moving to Chicago after college I worked for twelve years as the senior designer for a nationwide engineering firm before liberating myself from the corporate world and moving with my wife to Denver to focus on painting.
Gina Smith Caswell
Over the years I have primarily painted floral images. But I also have explored abstraction, water imagery, and portraiture. I work only in oil paints. I enjoy exploring pattern, color and texture.
I love imagery and use the paint, in my collage paintings, as the vehicle to enhance rather than tell the story. The mystery, the unknown, the wonderment of what could, or might be, inhabits the territory of my imagination. The creatures populating my paintings are the tribes of nightmares and daydreams, depending on the twilight zone of your mind.
The mysterious and magical elements of our lives can read like a novel or a grocery list. I use those items, tweak them and fabricate small reliquaries; artfully encasing these re-discovered objects to hold them, not as junk in time, but as small moments from an otherwise forgotten life. They are transformed into mini shrines and become recycled and redefined, into the lives of other collectors.
Advances in digital photography on the cell phone has allowed me to have a camera almost everywhere I go. My recent paintings have a basis in the images that I have spontaneously taken with my cell phone. I utilize the digital photos in my creative process integrating the photos themselves into the painting. My subject matter ranges from dilapidated structures and rusted metal to old store signage, twisted tree limbs, roots and flowers. I see the “abstract-ness” in realistic objects as intriguing content. All imagery is combined in delicate balances of structure, mass, line and color to produce interesting abstractions, with the recognizable form playing an integral part.
Bio coming soon
Tracey Russell lives and keeps her studio in downtown Denver. These abstract works of oil and graphite are rooted in the extant urban landscape, reflecting the contrasts between past and future, decay and rebirth, expediency and repurposing, and both disregard for and glorification of the history of Denver. Subject matter is Irrelevant ; this is a work of lines, marks, patterns, movement and rhythm.
My work is a style of mosaic art called "Pique Assiette". The name comes from the French pique-assiette, meaning "one who eats from others' plates". It is a style that incorporates pieces of broken ceramics—plates, dishes, cups, tiles and other found objects into the design. I enjoy use existing objects that have been liberated from a wide variety of places, from thrift stores to fancy estate sales and funky shops. I also like to marry unlikely partners and shake things up a bit.
The cool thing about mosaic is that each step in the process provides an opportunity—from the substrate, tile or broken dishes and other embellishments—to the grout color—to make each piece truly one of a kind with a persona all it's own.
I create what I consider “fire” paintings; these pieces are the aftermath between fire and canvas. These are based around ideas of the impermanence of man and the continuity of the world. Fire is one of the most powerful primal forces on this planet. Fire destroys as much as it creates; it gives life as easily as it can take it away. These pieces are meant to evoke feelings of transition; of the beginning and of the end. I want to envelop my paintings with the idea that I can create something beautiful out of such a destructive force. The images you are seeing are just the aftermath of the fire; an echo of the action that took place. Everything in this world is transitory; it will all come and go, leaving something new in its place.
When I paint using oils, it is fear that comes out, a fear of the unknown, of what will be waiting for me in the not-too-distant future. It is in these pieces that a dreamlike world becomes reality. This is a fear that comes from questioning my morals and beliefs, and one that hopes for something better, but knows it might never come.
Exploring the mysteries of nature, carefully hand cut mylar is superimposed over a loosely painted image to create an ephemeral and atmospheric picture. The viewer is invited to delve deep into the space where organic forms are retreating, and at other times pushing through the mists that envelope the painting. They suggest plants blowing through an environment of light and haze.
My work is process driven, building layers of mylar, paper and paint to create a visual tension between delicately cut and loosely painted. The shapes in the background are covered by matte translucent mylar pushing them back in space only to emerge again using cut colored paper and paint. This is done repeatedly resulting in a textural other worldly quality. The surface is unsettled and active as in nature.
Sarah Van Beckum
The first stroke of paint goes on the canvas with a flourish and at that point I have made a mark to which I must respond. Every line, brushstroke or mark-making gesture serves to inform my next move. I like the surface to be built up and multi-layered, so the early stages of painting are random and carefree, t creating richness and complexity. As I move through the work I hone in on areas that excite me and let those parts become standout features of the painting. My work grows to completion organically, without preconceived ideas about the look of the finished piece. The painting is finished when the colors sing and the composition piques my interest.
Lisa Corine von Koch
I, Lisa Corine von Koch, AKA The Baroness Elsa von, hail from the wild and beautiful desert of Moab, Utah, where my passion for the land, color, light and was nurtured. I continually seek the ultimate balance of Nature and Culture: an ideal situation in which each enhances the other, illuminating the best in each. Never content to merely imitate the natural world with traditional art media, I dramatically immerse myself as a character to study the experience of a human in the environment. The resulting works of art are the record of these experiences, brought back to share what I learn with the tribe. This requires ritual, discipline, deprivation, obsession, bravery, and costumes. Luckily, I love all of those things.
As an artist, a yogi, a world traveler, and lover of the great outdoors, I do not fear traveling into the unknown: mining varying states of consciousness, exploring the body, mind and spirituality, exposing/creating personal mythology, and dancing my way into realization, actualization and inspiration.
My work explores various themes taken from religion & mysticism, primitive culture & folk art, and the human anatomy. I also enjoy playing with text, using phrases and standard sayings in a cloyingly literal ‘tongue-in-cheek’ way.
I studied art in New Mexico in the 80’s, and became more educated about andinspired by the Mexican holiday Dia de Los Muertos, and found myself surrounded by primitive and lush religious iconography such asaltars, stained glass, sacred hearts and Milagros. I’m also inspired by the look of newly discovered, partially uncovered artifacts & bones, how they look while still imbedded in the earth. I often work in a ‘relief’ stylewith my clay work in an attempt to capture this.
I strive for a very primitive feel in my art, and like using natural materials, such as clay, wood, metal and glass, the wonderful textures andcolors they have. I consider my work to be somewhat whimsical and humorous, but with a ‘darker’ tone or thought at the core, drawing on ancient ideas and themes, simple imagery placed oddly in a modern world.
My sculptures are an intuitive expression of an emotional state. Some of my most recent work results from my personal reaction to current events. I respond to my environment, be it nature or an urban setting, and to events that happen to me and outside of me. I record my emotion by making something, communicating through imagery and objects.
My sculptures are intuitive, organic, fluid; they speak for me in symbols, colors, texture and patterns. I choose clay as my medium because I like knowing that it is the earth's most primal element. I enjoy its tactile quality, the feel of it in my hands and the fact that I can mold it into any shape. I think of color as a voice. It resonates uniquely to each individual which influences how I use it. It is also why an individual responds to one sculpture and not another.
The two works attached are part of a series called" In the Depths of Silence". It is about a lone wandering in my inner self from which a body of works ritualistically threaded and intuitively stained with organic pigments emerged as an hymn to fragility and finitude, a celebration of the human condition.
People are fascinating, as are the tattoos they choose. Their bodies have become the medium and the images tell a story. When viewed with the artist or painter’s eye you realize that the tattoo has significance to them much the same way that the images, colors and lines painted on a canvas having meaning to the artist. At one time, tattoos signified a “rebel” now “The Tattoo Man” has become “every man”.