Category: marketing

Christopher Springmann photographed Georgia O’Keeffe at her Abiquiú and Ghost Ranch homes in New Mexico for America Illustrated in September 1974. Enjoy his collection of photos and learn more on his website.

I knocked on the big wooden door, surrounded by thick adobe walls—no doorbell or house number. The door opened. There she stood, smiling. “You must be Christopher,” she said. “Yes, and you’re definitely Georgia.” She laughed, motioning me into her living room. “This is my favorite place. Your timing is perfect. I love the light, color, warmth, and especially sitting under Sandy’s (Alexander Calder’s) beautiful mobile.”

“Sitting in the Light, Color, and Texture”, photography

I started shooting. With each click, she repositioned herself slightly. “You’re a joy to photograph— you’ve done this before!” She leaned in, nodding, “Oh yes, dear Christopher, a few times . . .” (since 1917, starting with eventual husband Alfred Stieglitz).

“Skulls are Very Lively”, photography

This image and others have acquired a life of their own, as collector prints and in books, including the Georgia O’Keeffe Museum exhibit and catalog Georgia O’Keeffe and Her Houses: Abiquiú and the Ghost Ranch.

“Walking the Chow Chows at Chimney Rock”, photography

“I found I could say things with color and shapes that I couldn’t say in any other way.”                                                                            – Georgia O’Keeffe

“In the Midst of Chamisa at Sundown”, photography

We drove to her 12-acre Ghost Ranch house and studio, with a 22,000-acre “front yard” and endless vistas.  Georgia’s collaboration delighted me, but my editor needed an establishing shot of her in the landscape. So . . . “Could we take a walk, please?” She called her companion, “Juan, we’re taking a hike. Please bring the dogs!” Not just any dogs—Chow Chows, ready to run, in Chimney Rock’s shadow.

“In the Shadow of Chimney Rock”, photography

As we walked to the parking area, Georgia picked up stones, saving some in her big pockets, discarding others. As I left, she reached out, palm down. I responded, palm up. She placed a small black stone in my hand. “How sweet, thank you,” I said. She replied, “Maybe it’ll bring you luck?” I looked at the stone, then back at her. “It already has.” She clasped her hands together, joyfully, stepped back, and slowly turned to go home. I still have that stone.

“Sunlight Under the Veranda”, photography

I watched until she disappeared into the land she loved, painted, and shared so graciously with me, now with everyone who sees these memorable photographs.

Christopher Springmann invites you to follow him on LinkedIn, Facebook and Instagram.

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I am at a loss for words to express to you how inspiring you, your videos, and all you’ve imparted have been to me. Because of you, I am having a show next week. It took me 60 days (not 30) to get it together, but I did it. I have entered 5 art shows (waiting to hear). I am using social media ( much to my chagrin) to reach out to the “cloud people”. I now have 1400 contacts on LinkedIn and more than that on Facebook, and today got a very moving note from someone who took the time to look at my website. And I am in the process of rewriting my artist’s statement. I am truly out of my comfort zone..sort of feeling like Alice In Wonderland..but this is where I need to be.

The above article and comments are so validating for me. I work from within myself, dealing with emotions (good or bad) and where I am at emotionally while creating the work. And if the piece doesn’t “speak”, it’s not successful. When in a museum, I have to keep my hands in my pockets–I just want to touch the art. So when I display my work, I encourage the viewers to touch it so that they can connect more fully with the piece and the energy that went in to creating it. In December a woman in Virginia bought three of my newest pieces. And she lets me know on a regular basis how happy they make her feel. That, for me, is success.

Thank you for welcoming me into your Art Biz. You are a very special woman that, I hope one day, I will have the opportunity of meeting in person.

Tengetsu creates Mount Fuji Illustrated Scrolls, pictoral works that visualize the myths and legends associated with Mt.Fuji, Japan’s most iconic mountain. Get to know the artist and Artexpo New York 2024 Spotlight Recipient below.

Q: Introduce yourself — who you are and what is your vision as an artist?

A: We started with the idea of spreading The Mount Fuji Illustrated Scrolls created by Hōraku Nakamura to the world. Our mission is to spread Japanese myths and legends through art. In the future, we will begin to introduce more Japanese art and culture, including the work of Hōraku Nakamura’s son, sculptor Nakamura Ippei.

Q: What is your background?

A: I was born into a family of pottery artists and went to art college in Japan where I majored in painting. Tengetsu was just launched last year. I also run a game company and an education project for children, which I founded with my husband.

Q: What is your work philosophy and how does that impact your work?

A: My philosophy is “to do what pleases my soul the most.” Furthermore, for me, that joy is the encounter with art. Born in Japan to a family of pottery artists, my encounters with Japanese arts, crafts, and culture (including video games, manga, and anime) have shaped me. I am convinced that sharing this unique Japanese art and culture with the world and being inspired by great art from around the world will shape the style of Tengetsu in the future.

Q: What artist(s) inspire you?

A: We have a sincere respect for traditional Japanese painting, ceramics, crafts, and craftsmanship in Japanese culture, including manga, and anime.

Q: What is the best advice you’ve received?

A:「君よ芳しき楽しみに生きよイエーイ」

It was given to me by my father and means, “O thou, Live in the fragrant joy, yay!” It also includes the meaning of my father’s writer’s name.

Q: What does exhibiting at Artexpo New York 2024 mean to you?

A: I love the glamor and cultural atmosphere of New York City. It has been our dream since childhood to introduce Japanese art in New York. This is the best first step for us and it will be a great experience to meet many artworks, artists, and galleries at Artexpo New York.

Don’t miss Tengetsu at Booth 316 at Artexpo New York 2024.

by Carolyn Edlund

As an artist, you’ll always be searching for ways to gain more customers. Avoid these common pitfalls that can lose them.

It’s natural for artist entrepreneurs to want to expand their customer base, increase sales and improve yearly income. Let’s look at some common stumbling blocks that might be hindering your success.

First, let’s acknowledge that selling art isn’t easy and it’s not intuitive for most creatives. It requires dedication and a deep understanding of what drives people to make purchases. The more you grasp effective marketing and sales strategies, the better equipped you’ll be to attract and retain customers.

What are these potential pitfalls?

Not Making Impact

Ever found yourself in a situation where someone just doesn’t seem to “get” your art? Whether you’re showcasing at an art exhibit or sharing your work online, you only have a brief moment to captivate your audience. Is your message clear? Do your branding and presentation grab attention? If people struggle to understand your work, they’re likely to move on.

Lack of a Clear Connection

Next, it’s crucial to grasp your customers’ needs. It’s no secret that people are primarily concerned with themselves. The degree to which your art and your concept intersect with what they care about and value will determine how seriously they may consider acquiring your art. Your task is to demonstrate how your art enriches their lives. How does it resonate with them on a personal level?

This core marketing strategy should be part of your brand narrative and the consistent story that you share as you promote your work and gain an audience. When you don’t  have a story to tell that connects with what matters to your audience, you risk losing potential buyers.

No Follow Up Activities

Rarely does a sale happen on the first encounter. It takes time and repeated exposure for customers to feel comfortable making a purchase. So, if someone shows interest, or if you receive a lead through your website, follow up! Neglecting this step is a common reason sales fall through. Consider establishing a follow-up plan to keep those leads engaged.

No Closing Strategy

Many artists complain about not making sales, but they actually have no idea how to close one. They may never ask for the sale, or lack an understanding of how sales conversations lead to a customer being comfortable about making a buying decision. If that is the case for you, do some reading about the sales process, handling objections and speaking about your artwork in terms of the customer’s needs and wants.

When discussing the purchase, don’t overlook the power of negotiation. Although some artists will offer a discount to seal the deal, there are other ways to accommodate the collector and gain their agreement. Do you offer custom work or commissions that can be personalized to the needs or wants of your prospect? Could you offer free shipping or perhaps complimentary delivery and installation for local buyers, especially for large pieces?

Stay flexible in your thinking and consider any objections you have heard from potential customers. Do they need the option to pay for your artwork over time? Do they desire to purchase a framed work? Will a Certificate of Authenticity make the purchase more attractive? Treat your collectors like VIPs when it comes to pricing and services. It can make all the difference in closing a sale and also build customer loyalty.

By steering clear of these pitfalls, you’ll be on the path to growing your customer base and successfully selling more of your exceptional artwork.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

Artexpo New York Spotlight Exhibitor, Resurrect Studio, consists of Co-Founders, Jean Davis and Nancy Wu. The 47th edition of Artexpo New York runs from April 4-7 at Pier 36.

Q: Introduce yourself — who you are and what is your vision as an artist?

A: We are Resurrect Studio Co-Founders, Jean Davis and Nancy Wu. Having met 8 years ago, we feel like we are 8 as well. Accordingly, we don’t think of ourselves as taking full responsibility for the formation of our glasswork, but rather, we are vehicles for what the art has come to be. We journey to a century-old landfill in Brooklyn to pick up glass fragments percolating into the bay. Our art is an excavation of the collective unconscious from Victorian-era New York City seen in today’s light.

Q: What is your background?

A: JD: I’m an artist in my heart and an art therapist in my psyche. I’ve worked for decades as a licensed art therapist in medical and psychiatric facilities as well as in private practice. I’ve been making art my whole life and did my undergraduate studies at the School of Visual Arts. Through a long commitment to art and art therapy, I’m now a Full-Time Professor at Pratt Institute, a therapist in private practice, and with gratitude — Co-Founder of Resurrect Studio with Nancy.

NW: I have an English literature degree with a master’s in architecture. I began oil painting shortly after my daughter passed suddenly in 2016 at age 13.  To keep my chin up, I surrendered to a variety of things to heal me. Making art was one of them. Jean helped usher me through the unimaginable. Our families grew closer through the grieving process and the healing space that emerged evolved into Resurrect Studio.

Q: What is your work philosophy and how does that impact your work?

A: JD: Many technical approaches are effective when conducting psychotherapy, but it’s the clients we love that are helped the most. This is also true when making art. When I put my full heart into creating, the work transcends me.

NW: Our art benefits from the gusto of 2 creatives with post-menopausal zest. In our collaborations, we’ve noticed that Jean tends to create innards, and I love to ground them and consider how they touch the sky. We’re both ever mindful of capturing negative space as well as a landing pad for the eye to be still. This is essential to an artist’s hospitality; they must allow the viewer to just be.

Music and dance have a group component built into them, but less so in the visual arts. Two sets of eyes are better than one in this kind of art making especially when we can grab a critique. When it gets to be too much admin and not enough making, one of us will call pencils down, turn on some dance tunes, and remind the other to “get clinking.”

Q: What artist(s) inspire you?

A: JD: I love art that takes me away from me! Some artists and their work do this for me and each time I return I see through a new lens. There are many ways to travel through inner and outer space.

NW:  A resourceful sensibility inspires me, not necessarily precedence.  It’s the skillset for making fried rice from a wilted scallion, rice, and an egg.  Missionaries inspire me with their can-do attitude. For example, we have a nun friend, Ces, capable of fixing most things with #4 wire and/or duct tape.

My father is a tenor who trained in Rome.  Upon seeing a playful accordionist at our wedding, he launched into a duet, a fantastical display people still marvel at today.  The sincerity and spontaneity of his artistry have affected me profoundly time and again.  Retrospectively, my mother coined healthy neglect as her parenting style in raising 6 kids.  We were given ample space to be imaginative, yet I think we can all agree we were never far from her mind’s eye.

Although my bookcases are packed, for inspiration I rely on my bike to marvel at the beauty of trees in the clouds, something Jean and I do, and if that doesn’t help, I’ll cut open a red cabbage deferring to its staggering beauty to align me with what is.  Modest Mussorgsky attended an art opening by his friend and then went home to compose Pictures at an Exhibition. I’d love for us to do this for someone.

Q: What is the best advice you’ve received?

A: JD: My mom always said, “This too shall pass.”  The expression gave me great relief in stressful times.  She had a way of only gently fluttering in the midst of a storm. I think we offered each other very different perspectives which, (for the most part!), enhanced our relationship. I love that.

NW: Hum when you sweep. Be daring. Go for it.

Q: When you are not working, where can we find you?

A: JD: Good work is play and good play is work. Therefore, I am hopeful that you will often find me doing these things simultaneously with my family and friends while doing therapy and teaching students or while simply tinkering around. 

NW: Renovating the next phase of our house with my husband Bob and son Bo, who both have a surfs-up attitude for seeing art and travel.

Q: What does exhibiting at Artexpo New York 2024 mean to you?

A: JD: This venture is a very new and exciting opportunity as we/Resurrect Studio are only 3 years old!  Connecting with others through art is so pleasurable. It’s why working and playing in the studio with Nancy gives such pleasure to the artist in me. I believe this kind of reciprocity at ArtExpo New York will support our development and the development of Resurrect Studio.

NW: Let the games begin!

Artist Enda Bardell’s impressive watercolor portfolio features stunning vistas imbued with a timeless quality. See more from this talented artist on her website.

My art career began way back, when we were refugees in Sweden after Soviet Union occupied our little country, Estonia. I began drawing at age eight or so. This was followed by designing clothes for paper dolls, which I created to give to girls at school in order to make friends.

“Protection” watercolour, 11″ x 14″

My mom worked in a paper factory in Oskarshamn, where I had access to cardboard and paper for my creations. Perhaps that was also the beginning of my fabric art, clothing design and a brief stint as a costume designer in the Vancouver film industry!

“Brothers” watercolour, 11″ x 14″

When the Soviet Union demanded the return of the refugees, my family moved to Vancouver, Canada. I attended an inner-city school. My teacher noticed I had some talent and suggested I send a drawing of a family of dogs to an interschool art competition. I did, and won a book for the school library. I was now an artist at age twelve!

“Vantage Point English Bay” watercolour, 11″ x 14″

My art education was inconsistent. It ranged from various instructors, a short session at the former Vancouver School of Art (now ECUAD), studies with iconic Joan Balzar, friend and mentor of hard-edge painting, to a watercolor workshop with Toni Onley, Canada’s well known watercolor artist. Between family and various careers, I continued my art and studies off and on from landscapes in oil to hard edge abstracts in acrylics to fabric art and finally to watercolors, which I currently paint.

“Companions” watercolor, 11″ x 14″

In 2010 I was invited to show two of my hard-edge paintings in the Estonian Art in Exile Exhibition. I am deeply honored to now have one of my works in the permanent collection at  KUMU, Tallinn, the National Gallery in the country of my birth. The other painting is in the permanent collection at Tartu Kunstimuuseum, Tartu, Estonia.

“Boundless” watercolour, 11″ x 14″

I am an adventurer in life as well as art! I paint what I love. From landscapes and skyscapes in watercolor, outdoors on location or from reference photos of places I have explored. I’m drawn to the wide-open spaces, sky, sea, mountains, and entangled forests, without any manmade subjects. The exception is freighters, with which I have a special bond in Vancouver where I swim at Point Grey Foreshore.

“Aspiration” watercolour, 11″ x 14″

My world is alive and speaks to me in a visual voice. Painting fast and loose in watercolor enables me to connect with the moment of light. It allows the paint to perform its magic in its unpredictability, providing an opportunity to test endless possibilities!

“Expanse” watercolour, 11″ x 14″

My work is about the feeling of having been there and sharing the experience with the viewer—whether it be the magnitude of a setting sun, stormy sea, or a rock formation. To paint my interplay of the natural world is so rewarding!

Enda Bardell invites you to follow on Facebook and Instagram.

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Hi Alyson,
I have some other recommendations for novels about art and art business.
1. “Alena”, by Rachel Pastan, Riverhead Books,2014. If you have ever read or seen the movie of “Rebecca” by Daphne du Maurier, you will enjoy this book. The author did a great job following the plot but placing the setting of the story in the modern art scene. The writing is lovely.
A young woman, befriended by an older man at the Venice Biennale, is offered the job of her dreams at an avant-garde gallery on Cape Code.
The woman, Alena, whom she is replacing has disappeared, but left a gigantic hold on all the gallery staff and the artists who show their work in the gallery. There is a mystery, gallery intrigue, and personal relationships that add to this wonderful novel. I have read it twice and enjoyed both readings.
2. Still Life, by Louise Penny, Minotaur Books , 2005. This is the first book in a series of mysteries about a tiny town in Canada called Three Pines.
Several characters in the series are artists, and the stories revolve around these characters. The writing is delightful and the characters are three dimensional. The art created by one of the characters in this book leads to the solution to the murder. There is also an exposition of what it means to be an artist.

Happy reading!
Elise Nicely

Greg Lotus Gallery, one of this year’s Artexpo New York Spotlighth Recipients will be exhibiting his work at Booth 112 April 4-7 at Pier 36. Greg turned his love of photography into a successful career. Get to know the artist below.

Q: Introduce yourself — who you are and what your vision as an artist is?

A: My vision as an artist is to create captivating and impactful images that not only showcase the beauty of fashion but also tell compelling stories and leave a lasting impression on the viewers.

I am driven by a passion for storytelling and a meticulous approach to detail, which greatly influences my work as a photographer.

Q: What is your background?

A: Growing up on a rural farm in West Virginia and having a cultural heritage rooted in Northern Europe and Germany have greatly influenced my artistic vision. The simplicity of rural life and the connection with animals have shaped my perspective, while my heritage has given me a sense of pride and a connection to a rich artistic tradition. 

These elements are reflected in my art, showcasing a deep appreciation for nature, a strong work ethic, and a connection to my roots.

Q: What is your work philosophy and how does that impact your work?

A: I believe that as a photographer, my work is about more than just capturing beauty. It’s about telling compelling stories and creating visually stunning narratives. I emphasize meticulous planning and collaboration with my team to bring creative visions to life. Authenticity and individuality are at the heart of my photography, as I aim to capture the true essence of my subjects.

Attention to detail, mood, and emotion are essential elements in creating impactful images. Continuous learning and growth fuel my creativity, allowing me to stay innovative and relevant in the industry. Overall, my work philosophy revolves around storytelling, collaboration, authenticity, attention to detail, and continuous learning.

Q: What artist(s) inspire you?

A: As a photographer, I draw inspiration from a wide range of talented and visionary artists in the industry. These artists have not only influenced my work, but also pushed me to continually push the boundaries of my own creativity.

Here are a few examples of the photographers who inspire me: Richard Avedon, Helmut Newton, Irving Penn, Peter Lindbergh, Steven Meisel, Time Walker, and Herb Ritts.

Q: What is the best advice you’ve received?

A: I believe in staying true to my unique vision and style. Trusting my instincts and not being swayed by trends or external opinions has allowed me to develop an authentic voice. By staying true to myself, I create meaningful and impactful images that reflect my artistic vision.

Q: When you are not working, where can we find you?

A: My life is a beautiful blend of art, nature, continuous learning, and cherished moments with loved ones. I find inspiration in art exhibitions, galleries, and museums, immersing myself in the creativity of other talented artists. Nature rejuvenates my spirit and fuels my creativity. I actively seek opportunities to expand my knowledge and skills, attending workshops and exploring new creative domains. 

Spending quality time with loved ones brings me joy and fulfillment. This harmonious combination enriches my life and inspires my artistic endeavors.

Q: What does exhibiting at Artexpo New York 2024 mean to you?

A: Artexpo New York is an exciting opportunity for me to share my curated collection of photographs with a wide audience. I’m eager to showcase my unique style and storytelling through imagery and connect with fellow artists and industry experts. Being selected for this exhibition validates my talent and hard work, and I look forward to receiving feedback and growing as a photographer. Artexpo New York 2024 is a milestone that will allow me to gain recognition and expand my network within the art and gallery industry. I’m grateful for this opportunity and excited about the possibilities it holds.

Enjoy the intriguing pastel portfolio of artist Karen Israel, who captures human relationships and moments in time. See more by visiting her website.

I have been painting for over twenty years and teaching pastel classes and workshops for the past ten. I started as a still life painter. In those early days, as I honed my powers of personal observation, I preferred to paint from life.

“A Novel Idea” soft pastel, 13.5″ x 17.5″

More recently, much of my work represents action. As I work to capture people moving or interacting, I rely on my photo reference. Photos are invaluable because they freeze a fleeting moment that would otherwise be almost impossible to capture.

“Day Trippers” soft pastels, 19″ x 19″

So much of art is about emotion. One of the joys I get from painting is emphasizing my emotional reaction to a given subject or scene. As I create, I tie that emotion to a descriptive word that I keep in the forefront of my mind.

“After Living Alone” soft pastel, 15″ x 12″

Currently, I am inspired most by the figures that populate scenes in all types of environments, but I am especially drawn at this moment to the busy life on New York City streets or inside restaurants. I am rarely without my camera and always on the lookout for what I imagine to be the interesting stories behind, or the relationships between, people, or people and their animals.

“Too Many Cooks” soft pastel,12″ x 18″

The photograph becomes my foundation and the general principle behind the painting. But I depart from it in order, ultimately, to emphasize certain essential qualities of a subject as I see them. One important element is color and to exercise my color memory, I often work from a grayscale photograph. This forces me to be less literal to the photograph and use my imagination instead.

“The Finalists” soft pastel,15″ x 12″

Another key factor is composition. As I recreate the scene on paper, I almost always edit the references—cropping where necessary and adding or subtracting shapes, elements, hues and values. All the while, I consider the light, especially its direction and color, which punctuate and help define the drama of the scene.

“Troubadours” soft pastel, 20″ x 14.5″

My approach is flexible. Each piece develops almost organically according to the specific mood of the story I am creating. In Fast Friends, City Slickers and Troubadours, I used Sumi ink as the underpainting on Pastelmat paper, applying the pastel in layers after the ink dried.

“Fast Friends” work in progress

With this technique, I am able to create subtle variations in tone as I keep the mood of the painting introspective.

” Fast Friends” soft pastel, 19″ x 19″

When I want to communicate a sunnier emotional response, I work on black sanded paper with saturated color, as in Too Many Cooks and The Finalists. I sometimes enjoy the contrast of bright colors with a lonely feel, such as in Another Possibility and After Living Alone. In Téte a Téte, I use muted colors to describe an emotional scene between two men.

“Téte â Téte” soft pastel,  12″ x 15″

In all of these ways, an objective reality is the place where my emotional response to the subject begins. Each painting tells a story. As a painter, I express the story as I see it. The job of each viewer is to react in their own way.

Karen Israel invites you to follow her on Instagram and Facebook. 

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

The Aston Martin Residences Art Gallery introduces a unique collaboration with Save The Chimps, as the latest partner for its Virtual Art Gallery Exhibition Series, marking the first non-profit organization to be associated with the iconic luxury residences in Miami.

The exhibit by Save The Chimps, entitled “Interspecies,” will be featured for 45 days as a three-dimensional immersive experience, replicating the residence’s physical art gallery being developed on the 52^nd floor.

Based in Fort Pierce, Florida, Save the Chimps is one of the largest chimpanzee sanctuaries in the world, whose mission is to provide refuge and exemplary care to chimpanzees in need. Save the Chimps offers life-long care for chimpanzees retired from research laboratories, the pet trade, and entertainment industry.

Detour Thru Your Mind, 36×36 by Fred Schneider + chimp Dylan 2023

The B-52s band members, Kate Pierson, Fred Schneider and Cindy Wilson, collaborated with Save The Chimps and its chimp artists from the 150-acre refuge to create a collection of acrylic-on-canvas paintings that are included in the exhibit, based on the vivid colors of the band’s most popular album covers. Kate and her fellow band members paint the base canvases in various background colors and select the color combinations for the chimps to finish each piece of art in their own style of brushstroke.  Each piece in the collection of works has been named after a B-52s song or lyric and is signed by the band members. All proceeds benefit Save the Chimps.

Also featured in the new virtual exhibit are works by artist Karen Bystedt, who donated original prints from her ‘Lost Warhols’ series of work for the chimps to paint on—much like Warhol himself painted on photos of celebrities.

Rounding out the exhibit are five paintings featuring chrome backgrounds with colorful brushstrokes added by ape artists, each piece named after a classic Aston Martin model.

“We’re delighted to present the next virtual art exhibition for Aston Martin Residences,” says Dan Mathews, Director of Events at Save The Chimps. “It’s been an historic year for our artistic chimps at the sanctuary, with popular exhibits in partnership with The B-52s shown at renowned fairs across the country, including Spectrum Miami most recently in December. We’re thrilled to be chosen for this alliance with such a prestigious brand. The new virtual exhibit will be in conjunction with our next art fair exhibition at this year’s Artexpo New York in April, where we’ll be unveiling our next celebrity artist collaboration.”

Valkyrie, 16×20 by chimps Lisa & Janice 2024

Save The Chimps is also pleased to present an original interpretation for the Aston Martin Residences’ permanent collection – inspired by the residences’ sail-shaped architecture and tropical environment – complete with individual brushstrokes by some of the most talented artistic chimps at the sanctuary, making this unique piece a truly collaborative interspecies work of art.

Save The Chimps’ Interspecies exhibit can now be viewed at the Aston Martin Residences 3D virtual art gallery.

_______________________________ 

Aston Martin Residences Art Gallery

The Aston Martin Residences Art Gallery is being developed on the 52^nd floor of the award-winning building at 300 Biscayne Boulevard Way in downtown Miami.  Starting in 2022 and while the building was under construction, the Aston Martin Residences Art Gallery presented its Virtual Art Gallery Exhibition Series as a three-dimensional immersive experience on its website, replicating the residence’s physical gallery, and has presented collections by renowned artists, including Julian Lennon, Aaron Schwartz, Fabio Mesa, Robi Walters, Michele Utley Voigt, Rafael Delceggio and Louis Carreon. Each virtual art exhibition is featured for two months at https://astonmartinresidences.github.io/virtualtour/.

Save The Chimps

Save the Chimps is one of the largest chimpanzee sanctuaries in the world whose mission is to provide refuge and exemplary care to chimpanzees in need. Save the Chimps offers life-long care for chimpanzees rescued from research laboratories, the pet trade, and entertainment industry. The exhibit by Save The Chimps, presented by the Aston Martin Residences Art Gallery, entitled “Interspecies,” is featured through May as a three-dimensional immersive experience and part of the Aston Martin Residences Virtual Art Gallery Exhibition Series, found at www.astonmartinresidence.com.

All images courtesy of Save The Chimps/Aston Martin.

British sculptor Deborah Harrison presents a portfolio that ranges from portraying nature to the human condition. See more by visiting her website.

There is nobody more surprized than me that I have become a stone sculptor. I have a background in science with no notable artists in my family. The only early clue to my spatial awareness was my ability to get everything in the car boot when we were going on holiday, whereas none of the other family members could.

“Connection” Portland stone, 70 x 35 x 30 cm

In my middle years I had a chance encounter at an arts festival with a block of terracotta clay (which was too hard to reshape) resulting in me using a craft knife. The finished piece was placed at the front of hundreds of other clay forms to recreate Anthony Gormley’s The Crowd. 

“Citrus” alabaster, 30 x 20 x 15 cm

So, my carving addiction began. After getting the highest bid at a Stone Masons Carving Festival, things unfolded as if I had a calling. I made a choice to commit to it.

“Spirit” alabaster on marble, 65 x 45 x 12 cm

My inspiration comes from the strangest things (ranging from the image on a greetings card to dreams.) If an image fits the shape of the stone, I run with it. My thinking has always been back to front: even in science I began with the conclusion and worked backwards to the proof.

“Valley of the Shadow” marble, 85 x 25 x 25 cm

It’s the same with sculpture. I seem to make a piece, and then the person finds it, declaring it was made for them. This best examples of this are firstly The Valley of the Shadow which is a sculpture of a man being tortured, made from white and grey marble. As I carved it, I was thinking, “Who will buy this?” Within 24 hours of it going live online, Sir Malcolm Evans, who had been the chair of the United Nations Anti-Torture Committee for ten years, visited my studio and bought it on the spot. It is on the front cover of his newly published book Tackling Torture.

“The Hand of Fanny Storr” alabaster, 32 x 10 x 8 cm

It was similar with the piece, The Hand of Fannie Storr. I finished it and the CEO of the Gloucestershire NHS Trust Hospitals purchased it. It is now in the Cheltenham Hospital Educational Centre as a memorial to the first Director of Nurse Training.

“Fivex More” Kilkenny limestone, 40 x 22 x 23 cm

I use a technique called carving direct, which follows the grain, form and colour of the stone. Consequently every piece is different. But there is also a strange convergence where circumstances, my personal life and faith as well as the stone all come together in synergy. It’s this that I love the most. My goal is to reach increasingly higher levels of skill alongside this convergence. My work is usually aesthetically pleasing regardless of the theme, as I feel this brings hope.

“Palomo” alabaster on soapstone, 46 x 14 x 16 cm

I have been a professional since 2015 and have won several awards, for example the International Spiritual Art Award (3D category) in 2023, the Ashburner Sculpture Prize in 2022 and the Southwest Academy of Fine and Applied Arts Sculpture Prize and Guest Judges Award in 2020.

“Areion” alabaster on limestone and slate, 45 x 23 x 23 cm

I am based at Gloucester City Works, in the United Kingdom where I lead classes and take commissions.

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Artist Laura Hunt shares a fascinating collection of landscapes and narrative figurative paintings with a personal and emotional edge. See more of her work on her website.

My early years on a central Texas farm, while idyllic in many ways, was devoid of art education. Drawing was my only creative outlet. Once the larger world of art books, galleries, and museums opened up to me, I drank up knowledge wherever I could.

“Intersection” acrylic on canvas on wood panel, 24″ x 18″

My English degree became a valuable asset in my marketing and graphic design career. During this time, I explored textiles, pastel portraits and figures, cut paper illustration, and greeting card design whenever possible. When a major life change in 2013 took me to where I could gratefully say goodbye to my marketing career and embrace a full-time studio practice, I took the leap.

“Women at the Brink” pastel, 10.5″ x 8″

Faces and figures have attracted me since the beginning of my art journey. The subjects I paint are usually ordinary people caught doing life—beautiful in their ordinariness. The lived moment of each one is noticed and honored. These characters invite the viewer into the narrative, prompting understanding, questioning, and empathy.

“Big Pink Rock” acrylic on canvas on wood panel, 24″ x 24″

Similarly, landscapes serve as characters in their own story as I explore my personal relationship to the land. As with humans, each landscape has unique characteristics that draw me in. Some are iconic or quirky, like Cadillac Ranch. Others are deeply personal, like Enchanted Rock which I visited often as a young camp counselor.

“The Reach” acrylic on wood panel, 36″ x 24″

Composition is paramount in my work, guiding the viewer’s eye through the painting. I use color to express mood, whatever the subject. High contrast often appears, with sunlight forming the contours of a figure or a high desert mountain. Once the work reaches a sense of completion, I seek ways to disrupt it. I make marks, scrape edges, de-construct parts, and sometimes adding an image transfer. These final steps move the art beyond mere representation, while injecting it with emotional content.

“She’s Already Made Up Her Mind” acrylic on canvas on wood panel, 20″ x 10″

While acrylic paint is my foundational medium, I relish the complexity and playfulness of patterns, marks or image transfers into my work. I prefer canvas applied to a rigid panel, although for larger pieces, I choose stretched canvas for its lighter weight. Pastels and monoprints on paper have recently attracted my attention, as well as digital art using Procreate.

“Before Serena” acrylic on canvas, 36″ x 36″

Inspiration comes from many sources. I sketch from life in a tiny sketchbook to record interesting postures at public events. I dig up grainy black and white images of kinfolk and characters. Or I may sneak a picture of someone in a compelling pose to later use as a reference point. Images of friends and family willing to pose for me go into my reference library, as well as pictures of the places I visit.

“Woman With Gold Earring” acrylic on wood panel, 24″ x 24″

My many artist heroes include the Abstract Expressionists for their treatment of paint as paint, David Park for his expressive figures, Alice Neel for her courageous portraits, and Edward Hopper for his spare and lonely landscapes. They and others motivate me to follow my heart and forge ahead.

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