Jean has been active in the Co-Op scene in Denver since 1986, and is delighted to be a founding member of D’Art Gallery! Her emphasis is ceramic sculpture, although she enjoys jewelry-making on the side.
Lisa Calzavara has found her passion in painting. By creating both realistic works as well as abstracts she is able to develop a variety of series in her own unique style. She begins her projects by focusing on an emotion or feeling to convey, then uses high contrasts and interesting light structures to develop compositions with movement. By simplifying the core elements she is able to maintain the essence and allow the spirit of the painting to emerge.
The paintings always tell a story, “you just have to ask.” They are about relationships, brief interactions with strangers and people on the street, places that are unique. They are “moments in time.”
Oils as the medium provides a richness and integrity of color. There is a flexibility that provides countless possibilities in application.
Art is a vehicle for exploring the exterior and interior landscape of our existence on this planet.
Viewing the world from a meditative practice, I call myself a Contemplative Artist. To me, contemplative art is the product of creative expression rising from the pure joy of creating, grounded in a meditative connection to the radiance and perfection of spirit known only through one’s experience of being fully human.
During a contemplative experience one does not observe anything specific but rather a feeling emerges from the meditation. Likewise, I choose to create work that does not refer to any specific location or time. I choose instead to invite the viewer into my meditation of my collected emotional responses from residing in Colorado since 1972.
Each painting lives in its own place and time. It breathes on its own, free from a particular association, reflecting back to the viewer a new way of seeing. The painting changes as the viewer breathes in detail, subtleties of shape, and nuance of color. Then the painting breathes back to the viewer. A relationship ensues.
The painting process begins with heavy application of oil paint with a pallet knife to create texture. After the layer of thick paint dries and hardens, I begin the next layer, painting the contemplated image. Color and texture are the predominate features of my work, especially creating unique hues to reveal a particular mood. After applying untold layers of paint to create unique colors, my interpretation of my heart-centered experience arrives on the canvas.
The 2015-2018 Art Series is called “Boketto”, a Japanese word for the concept of gazing vacantly into the distance without thinking. Using images that are familiar from the environment to express in a non-verbal manner my life experience, I invite you to gaze, without labels, into my shared contemplation.
Suzanne Frazier integrates a BFA degree in Studio Arts from the University of Colorado with a BA degree in Philosophy from Lake Erie College to create a philosophical/meditative approach to art making. In September 2015, Suzanne published, Contemplative Art, a book describing her meditative painting process and definition for contemplative art amid images of her cloud paintings. As a working artist since 1990, Suzanne teaches weekly oil pastel drawing and water-based oil-painting classes at her studio in Longmont, CO. She also facilitates spiritual journey contemplative art retreats. Her work is in private collections in the United States, Canada, Europe and Japan.
“I strive to find the delicate balance between art that is both visually and conceptually engaging. My work often includes elements of realism combined with an interesting layer, material, or new context. I’m driven to find ways to create images inspired by curiosity, things I am learning, or personal experiences that other people may also find connections with.”
Faith Williams is a Colorado native who has been making art her whole life. She has taught both art and experiential learning at local high schools and arts organizations.
There is tangible, recognizable connective tissue that connects my work. From the vastness of the cosmos to the intricate branching patterns within each of our life-giving cells. I am drawn to the primordial spirals and organic structures and flow of nature.
I am fascinated, in particular, with the liminal state: the stage of in between, where massive dissolution of order occurs; where ambiguity and disorientation are the natural precursors to change. From this chaotic, fertile void, a fluid and malleable state occurs and births new order, no longer who we were, and not yet who we will become, new customs, new order, and new structures are born… each unique, yet universally familiar.
From expansion to contraction; from birth to death; from structure to chaos, this connected universe mimics the neuroplasticity of a giant brain, and the brain mirrors the expanse of the entire cosmos… and beyond. Each moment is unique. Each moment is identical.
I attempt to capture the states and stages of the connected universe. The dynamic energy that surrounds and fills us, our earth, our skies, our oceans, constantly shifting and transforming, too small to understand and too vast to comprehend. Connecting all living things as one.
My work is about creating a visual record of my experiences: past and present, separations and divisions, joys and sorrows. The investigation reveals personal rhythms of my spirit. It is within these visual musings that the work becomes an offering of my dialogue with the human experience and a prayer from my soul.
My focus in art is in the pictorial panoramic landscape. In 1948 S.D Jouhar defined a pictorial photograph as “mainly an aesthetic symbolic record of a scene plus the artist’s personal comment and interpretation, capable of transmitting an emotional response in the mind of the receptive spectator. It should show originality, imagination, unity of purpose, a quality of repose and have an infinite quality about it.”
Many panoramic cameras and methods have been revolutionized over the years culminating with the digital camera along with software and hardware for the home computer to produce large pictorial panoramic objects of art from home.
In the beginning, my pictorial panoramas felt the tyranny of the landscape, that is, I felt limited by the making of pictures of a “place”. I am now reliant on the strategies of making art with photographs. The strategies for my pictorial panoramas, includes multiple photograph panoramas and image manipulation. Through this image, I am able to create a unique visual pictorial panoramic landscape that is striking in presentation and acts as a catalyst to trigger the viewer to see nature’s landscape from a new perception.
I’m fascinated by the ever-changing moods of the natural world. Our reality is created through the various manifestations of the natural elements--earth, water, air, fire and space. The qualities of each element offer a unique way of perceiving--giving us an intuitive feeling about what’s in front of our eyes.
By practicing deep awareness of the present moment, I try to capture the ineffable quality of continuity behind the changing manifestations of the natural world.
Encaustic Wax Monotypes
What I love about working with encaustic wax monotypes is the absolute inability to control outcomes. Melting beeswax crayons on a heated metal plate, I show up as co-creator and do my part, but ultimately Mother Nature herself dictates the outcome. I can embellish and revise, but my input is limited. Ultimately it is up to us to learn to live with and love the consequences.
Jude Barton received her BFA from Metropolitan State University of Denver in 1999 with an emphasis in sculpture. She has been an active artist in Colorado for the past 30 years working with a wide variety of materials and processes in painting, mixed media and sculpture. With the addition of a minor in Art History, she is well rounded in her understanding of concepts in art theory and criticism.
From her early years using primarily three-dimensional sculptural forms, Barton has utilized those skills and practices to transition to predominantly two-dimensional forms while maintaining a sculptural aesthetic. She asserts a neomodern formalist approach which she describes as intentionality and freedom within structure. Neomodern formalism acknowledges process and materiality but confines those elements to a subordinate position. While concept and context may be discerned by the viewer, it is only as an unintended result and the whimsy of the human mind. Barton asserts that art is about art.
This relationship between surface and mark is fundamental to contemporary drawing, and every kind of drawing artist today makes the decisions deliberately: what surface to work on the best suits what the drawing picture of, and what surface to work on that best suits what the drawing is, in and of itself.
Instincts and intuitions drive my creative force. Drawing automatically the process takes over with free association.
I often change things around after I have the idea as it grows creatively
Multi-faceted in the space shared by the viewer and the creator
Both realism and abstraction originate from a subjective vision in one's mind.
Spontaneous creativity for pure pleasure
Allow my instincts and intuition and see where that inspiration takes me
Subjective aspect of one intuition creative spontaneity
Find the treasure without a map
A sense of place
The focus of my work is hinged on the urban, rural and coastal landscapes I have called home and the ways in which these environments can be transcended, viewed and understood. My abstract art combines elements of the built environment and the natural world. The result is the representation of virtual places that evolve while the works are created. My training as a designer has an impact on the architectural quality of my painting and printmaking. I like to organize the chaotic and the organic in my compositions.
I am inspired by the unending possibilities that creating with different media and wax allows me. From building up…creating texture, to scraping with tools and fusing with a torch and creating smooth, glass like surfaces, every day brings something new. I am constantly learning about wax as a medium and all of the possibilities it grants. I am intrigued by the fragile, and at the same time, durable qualities of beeswax. My work varies from developing transparency and light from within to creating and incorporating depth and texture.
Color, bright, strong, vibrant color inspires me. Color for me is deeply tied to memory: playing under the shower of yellow petals from a Cassia Fistula tree, laying on my back staring up at the speckled red canopy of Poinciana’s in bloom, the dark navy dress I wore to my father’s funeral. I was born and raised in Miami and I was inundated with vibrant color all around me. I often dance in my studio when colors come together to create something larger than what my small imagination could have composed. Those are the moments of divine intervention.
The creative process for me is primal and emotional. My abstract works are inspired by the sights and sounds around me, the music I listen to, the colors of the world, or the patterns of light reflected in the windows of stopped cars. Inspiration is everywhere. I am constantly taking note of patterns, shapes and the juxtaposition of colors. Other times I am process driven; I want to see how far I can push a medium, to see if I can make the wild idea in my imagination come to fruition.
I love the surprise of an unexpected color combination, a juxtaposition I had not imagined and then I try to discover what those colors sparked in me; to see if I can I capture that immediacy and grab that flicker of memory. But these are my memories, I leave my work open to your own interpretation. I only hope I sparked something in you.
Ashton Lacy Jones, artist (Facebook)
My artwork has evolved over three decades to include rich textures and a delicious color palette of sixteen liquid acrylics that allows me to explore abstracts, landscapes and portraits alike.
I typically begin by creating texture on the canvas using a thick lightweight acrylic paste that allows me to build up the surface, and sculpt and modify it before adding paint. I use a variety of elements such as dried paint and found objects to create additional texture. I like to work quickly and get a lot of paint on the canvas at once, using an array of implements, brushes and my hands to move it around.
The overarching intention for my artwork is to create a respite from the challenges and stresses of modern life by reminding viewers of their interconnection with the natural world, cycles of time, and with each other, through memories, thoughts, feelings and hopes and dreams.
My art is inspired by the “urban landscapes” I see on TV, magazines and newspapers.
I am interested in creating works that are ephemeral, unexpected and in particular interactive. My work employs a variety of media, incorporating both traditional materials such as paper and fabric, as well as more contemporary materials, including electronics and video or sound projections. I’m currently working with electronic components and microcontrollers to make kinetic objects with light and movement as well as exploring photography.
I consider myself as a Post Modernist with links to the Dada Movement and its focus on spontaneity and irreverence toward the more traditional art forms of painting and sculpture. Following the traditions of Dada, my work frequently utilizes intuitive processes and celebrates the whimsical and idiosyncratic aspects of human experience. For example, my motion-activated birds were inspired by my late mother, who decried the overpopulation of geese in her quiet neighborhood but still treasured a life sized bronze goose statue whom she called Bob.
Lori Dresner is a ceramic artist best known for her sculpture and pottery.
Lori received a BFA in Ceramics from The Rhode Island School of Design and an MA in Ceramics from the University of Michigan. Lori also holds an MFA in Video Arts from the School of the Art Institute of Chicago and pursued a career in international advertising which took her to Paris, France until 2008. Her travels and life experiences influence her art as she interprets the connection we share with nature, environment and family.
Lori’s hand-built work revolves around imaginary characters interacting in illusory surroundings. Lori uses porcelain to construct asymmetrical vessels that serve as a blank canvas. Her playful characters interact with each other in imagined situations, a lighthearted balance between fiction and form. Her art of fantasy serves as a release of worry and tension in a troubled and uncertain world. Lori’s hope is that these creations bring a smile to your face, lighten your thoughts and help you not take life too seriously.
“The mind is like a parachute. It doesn’t work if it isn’t open.” — Frank Zappa