Richard Olson: A painting begins with a feeling of relevance, giving me a direction that I can follow. It’s with eyes shut that I can see. Oftentimes it starts with a sketch that was done some time ago: It’s a good composition and viscerally draws me in. A painting becomes a journey into adjacent realms. Taking flight I somehow join with a great migration moving from one place to another while feeling happily less significant and creatively a little closer to home.
I like to play with color, with glazing, and the sensuality of texture. from a composition drawn in with crayons a painting evolves with painted lines, light over dark, dark over light brushstrokes, as a way to bring an image, all images, into focus. All of these images and their adjacent spaces create a symphony where even the most serendipitous image plays a part. On an almost subconscious level painting is a celebration of an irreducible mystery of interrelationships, the way everything connects into a fabric of experiences of waking and dreaming, where each moment is a small scene amongst countless other scenes all stitched together, making time, articulating consciousness, into something that cannot really be painted.
But I can allude to this mystery by stepping outside myself, becoming intimate with the subject on the canvas, feeling its life with a paintbrush and texture, where even space has life with textured layerings of color. It is an ever unfolding story from the very beginning, all the way back to the big bang, when magical realism was born, with time and consciousness inseparable, including the uncanny presence of objects and later the spirits, and eventually including metaphoric realms reflecting, sometimes darkly, our everyday lives.
I’ve always been outside the fold as it were. From a time long ago, in a dream, I held the blue specs of a fallen star in my hand and experienced a deep, visceral loneliness. I became disenchanted with science and technology as the deliverers of meaning even as I felt their knowledge already written down in the earth and the stars. Once I sat on a hillside in the gathering twilight as specs of blue and green lights danced around me. I was looking out across the plains below me where the lights of distant towns blinked on. The towns were like dark spaces spread upon the numinous dark of the great plains like some alien force oblivious to the earthly beauty of nature all around. I knew then that somehow I would never completely fit into what seemed like a shadow play that I saw then. no matter how hard I tried to fit in, and I did try, It seemed to always fall down in the end and I would return to the solace of my art, where both the shadow play and the beauty of nature were an inspiration. This journey has been my school of art, call it self taught or whatever, with the occasional art book along the way.
I paint mostly in the morning. I prefer a simple life, burning wood in the cold time of the year, petting my dogs and taking care of business as best I can. I like stepping out into the early, sunny chill of the morning. Actually, I like to travel . . .
Lea Anderson, a San Diego native, has lived and worked in the New Mexico art community since 2003 and has discovered much during her adventures in the dramatic, colorful, and wild desert environment. Fluent in both two-and three-dimensional visual languages, she creates living, philosophical worlds that echo the formal variations seen in natural systems. These themes are explored through individual works, full-scale ambitious mixed media installations, and solo exhibitions using a wide variety of both digital and traditional media. She has exhibited throughout New Mexico and the United States, as well as internationally in Bangkok, Thailand in 2010. In 2013, Anderson was the Guest Curator for the exhibition Flatlanders and Surface Dwellers at 516 ARTS in Albuquerque. She recently created MERIDIAE, a monumental installation piece for the Atrium windows of the Albuquerque Museum as their 2015 Summer Artist-in-Residence. In 2017 Anderson completed artist residencies at Bullseye Glass Resource Center in Santa Fe, New Mexico, and at the Vermont Studio Center. email@example.com
The Jean Cocteau Gallery presents “Pirate Queen; Piracy is a Feminist Act,” featuring a new body of work by Albuquerque artist Juliana Coles. This exhibit reveals the extraordinary lives of female Pirates who dared to live life on their own terms. Many women donned male attire to take advantage of the rights, privileges and freedoms that were exclusive to men. Condemned to live outside the law, the Pirate Queens, through their cunning, resistance, ability to speak out and willingness to fight, abandoned home and comfort for a chance to pursue freedom beyond society’s confines. While the stories of their piracy may have been lost at sea, this exhibit attempts to reclaim their legacy and rightful place in history.
‘In times of tyranny and injustice, when law oppresses the people, the pirate takes her place in history. This is such a time.’
Roberta Parry’s strong yet lyrical paintings reflect her affinity for watercolor and the impact on her work of light and color. As she says, “I love the spontaneity of watercolor, its freedom of flow, the surprises, and the challenge to master or at least control the independence of its gentle yet willful nature. I do still lifes now and then, but I am particularly attracted to landscapes. Color and light are the elements that most strike my sensuous core, and transparent watercolor seems to best capture for me the vibrancy and translucence of sky, earth, water, and all that grows and travels therein. I may know where I want to go, but getting there is always an adventure.” Parry studied art at the University of Arizona in Tucson, from which she graduated with a degree in elementary education, and at the University of Hawaii in Honolulu. She is continuing her study in Santa Fe with master artist and teacher Michael McGuire. Her work has been exhibited in solo and group shows in New Mexico and neighboring states, as well as public spaces in Santa Fe. She is an Artist in Residence at the Inn and Spa at the Loretto, Santa Fe. Her painting “Fallen But Not Bowed” was accepted into the juried Watercolor USA 2016 show.
Nico Salazar is an illustrator, muralist, and designer living in Santa Fe, New Mexico. Nico has been drawing since he was a small child and grew up between Santa Fe, California, & Hawaii due to his father’s service in the US Navy. These three locations heavily shaped Nico’s style showcasing a unique synergy of cute & dangerous imagery that blends influences of manga, street culture, comic books, graffiti art, and 90s nostalgia. He received his BFA in Painting from the Institute of American Indian Arts in 2014 and shortly after joined up with artist collective Meow Wolf to produce his wildly popular mural-room installation Hidden Capsule in Meow Wolf’s House of Eternal Return. Nico went on to form his product line Future Fantasy Delight in 2015 with support from Meow Wolf and is currently working on his Spring/Summer collections.
Nico enjoys gazing at the Tokyo Skyline, collecting luxury paint markers, being around palm trees and practicing his psychic powers.
Sergio Moyano was born in Cordoba, Argentina, in 1934 and studied at National School of Fine Arts, the National Academy, and the Superior School of Art in Buenos Aires. His studies and sojourns in Paris, Munich, Mexico City, Santa Fe, and New York City spurred his interest in Op art and Abstractionism, as well as his love of etching and monotypes. Moyano finally settled in Santa Fe, home of life-long friend Ron Adams. It was in Adams’ Hand Graphics shop that Moyano honed his skills at printing. Moyano continues to produce canvases, monotypes, and etchings. A lifetime of spiritual and cultural influences is reflected in Moyano’s work, which in turn mirrors his inner life. And like his inner life, they are in constant transition. An artwork might express years of experience or a transitory emotional state. His palate for both canvases and monotypes still includes black an essential color but brighter and more vibrant colors now dominate. All pervasive are feelings of harmony among the elements in an individual work and a sense of optimism in the body of work as a whole.
I create figurative paintings layering objects against altered landscapes, using imagery I have collected while traveling around the world. These paintings are my response to the social and environmental issues facing more than 80% of the world’s population.
The ubiquitous jerry can, slums, jet trails, wash basins, fire, vehicles, saints and deities, flora & fauna are some of the subjects that I paint in an attempt to explore the above issues and inspire the viewer to think outside of themselves. I am fascinated with the common thread of those with means and those without, such as how we use objects, what we worship, how we live, the debris of man made objects and the resilience of the plant world.
My mixed media consists of oil paint, auto and spray paints on paper, wood, Yupo paper, vellum, acetate and silk screen on fabric.
My intention is to create both “fine “art and art for the streets, and to blur the boundaries between them.
Long before capturing a photograph, Jennifer B. Thoreson enters into a process that includes fabricating abstract objects, arranging architectural spaces, and staging furnishings and models to create deeply personal and engaging pieces. She lives and works in Albuquerque, NM, and plays many roles, including photographer, teacher, lecturer, and mother. Her work has been shown in collections both nationally and internationally. The elements she displays in her images, which she caringly selects, creates, and rehabilitates, play as important a role in her art as the finished photographs themselves. Thoreson explains, “when I discover a mundane or unwanted object, bring it into my space, wash it, mend it, give it a careful purpose, bask it in light, and photograph it, I feel as though it has been born again. It is re-purposed.” In a similar way, through her art, she invites the viewer into a process of self-renewal as she explores the intricacies of human relationships and the ways that brokenness can give way to redemption and healing.
David Misconish is a Santa Fe artist whose raw and powerful work has been described as spiritual, emotive and enigmatic. Preferring non-traditional painting methods, he tends to work without brushes, palettes or conventional canvases. Instead, he applies paint using a variety of found objects and reveals his subjects through a process of reduction.
The constant dialogue between artist and art makes his work as much a discovery as a creation. David frequently creates time-lapse videos of his paintings to give his viewers a behind-the-scenes look at his process. Watching him paint is a roller coaster ride filled with twists and turns as his spontaneous decisions bring his subjects to life.
Described as abstract figurative, David’s paintings capture the impermanence and range of emotions that define the human experience.
“My ultimate desire is to have my paintings connect with people on a visceral level, and have them interpret what they see based on how the painting makes them feel.”
A self-taught painter, David draws on his background in design and architecture, and his travels throughout the continental United States, Europe and parts of Asia.