I guess I can finally share my pieces from the Iceland Residency Exhibition at Light Grey Art Lab! Here’s my little blurb from the show, so I don’t have to write it out all over again:
“I love weird landscapes. I love inscrutable waterfalls, I love columnar basalt, I love incomprehensibly massive glacial tongues and unexpected volcanic activity. I love all of this stuff, and so it frustrates me to no end that it’s so rarely reflected in my own work. I spend most of my time (both professionally and personally) designing characters and costuming, so this show seemed as good a chance as any to step out of my comfort zone and focus on honing my landscape painting skills. Hard to go wrong with Iceland in the landscape department.
I did a few plein air studies while on-site in Iceland, but most of my time during the residency was spent just taking photos and trying to absorb the scenery. I ended up with ten finished paintings, and tried to focus on some of the imagery during the trip that really stuck with me – the acidic green mosses, the almost eternally overcast sky, the force of water, the semi-abandoned structures. As much as I enjoyed the scenery, it’s not hard to admit that I enjoyed the people even more; this residency wouldn’t have been half as worthwhile if it weren’t for the amazing and talented people I got to spend it with.”
You can check out the rest of the show here, and purchase prints in the LGAL store!
Jonathan Frank born in Grand Junction, CO in 1962, is an watercolorist artist currently lives and works in Moab, Utah. He spent his earliest years playing in the canyonlands of western Colorado, and out of that experience, he developed a life-long passion for western lands and the desert. His subject matter is clearly a direct outgrowth of that, but his distinctive style was the result of an early experiment for a high-school art class.
As Jonathan tells it:
The outline has since become much more stylized and refined, as well as poignant. I now use a Rapidograph pen with India ink for precision and permanency. The outline also helps to give the whole piece a clean, unified appearance, as well as to emphasize the sheer strength of my subjects. This all results in what I call High-Definition Watercolor.
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Fred Poisson is a watercolor painter currently living and working on Block Island, Rhode Island.
After years working in professional design Fred has returned to his roots, reconnecting with his innate ability to depict light and mood through the watercolor medium. These are not your typical watercolor paintings. Often large scale, full of pigment, painted both wet into wet and layered gradually, they have a richness seldom found in this medium.
He says that he prefers to think of himself first as a painter and second as a watercolor painter. He feels this is important to making compelling images and not getting caught up in watercolor technique.
Goldener Apfelbaum is the first achieve Klimt takes in direction of geometrization of vegetal forms. The apple tree is unidentifiable as such, the leaves and the golden apples serve as a formal mean of decoration.
Destroyed by a fire set by retreating German forces in 1945 at Schloss Immendorf, Austria.