studio notes

I just ate my still life! It was mixed with some flour, brown...

Thu, 03 Jan 2013 23:47:17 -0500

I just ate my still life!

It was mixed with some flour, brown sugar, vanilla, stuffed between a double pie shell and was delicious.

Happy 2013!

Floral series - still life. oil on canvas 36x36”. Laid...

Thu, 03 Jan 2013 18:06:47 -0500

Floral series - still life. oil on canvas 36x36”.

Laid in the backgrounds on a series of three floral paintings that will go into the living room of a client. Carnations will be on the left, tulips on the right and sunflowers on the bottom.

Since all three will be side by side, I’m thinking the darker sunflower painting will go in the middle of the other two.

Roses by Samuel John Peploe. [1920-1925]. Studying art always...

Tue, 01 Jan 2013 17:58:02 -0500

Roses by Samuel John Peploe. [1920-1925].

Studying art always presents fantastic surprises. This morning, I discovered a still life by Samuel Peploe, a Scottish painter in the early teens of the 20th century. Now, I’m on a quest to research all of his work, sketch and study his techniques. Its evident during the early 20th century the linear and edgy influence of cubism in his work. In the 1920’s it seemed his work began to smooth out, yet adopt many of the geometric principles are still utilized.

Still Life of Fruit, Samuel Peploe

I’d like to share the Google image search of Peploe and roses - it’s a visual fireworks show of hundreds of beautiful floral still life. Has the textural and brushwork of Cezzane and the bright hues of Kandinsky. Peploe’s use of dark blacks in shadowing and edges brings the light whites and cream colors alive. Something I don’t think I have the courage to attempt in my work.

Roses in a Brown Jar by Samuel Peploe

National Galleries of Scotland has a nice collection of his work. I’m off to grab some pastels, a pad and experiment with some of Peploe’s concepts. I’ll post some pictures later.

What do you think of his work? Let me know your reactions.

Wassily Kandinsky. Composition V 1911. According to Inventing...

Fri, 28 Dec 2012 20:04:00 -0500

Wassily Kandinsky. Composition V 1911.

According to Inventing Abstraction curator Leah Dickerman at MOMA in New York, after hearing Arnold Schönberg’s Second String Quartet, artist Wassily Kandinsky painted Impression 3 (Concert) [pictured above] and invited the composer to exhibit his own painting’s with Kandinsky’s Blue Rider group. According to Dickerman, Schönberg’s Second String Quartet, brought Kandinsky into the realm of abstraction in his art.

Part of the exhibit is a revealing “social graph” of Kandinsky and his compadres of the time. Be sure to click on each name as you browse the graphic as its interactive with pieces of art influences by the artist’s peers.

It is noteworthy to view abstract art in the early 20th Century through this lens as it clearly delineates abstract art as a conglomeration of music, art, and poetry as opposed to an autonomous conception of one artist.

In partnership with MOMA, WQXR of New York has put together a playlist illuminating the musical influences of music on this genre of abstract artists.

And the best for last, give yourself a treat and listen to this fantastic interview with Leah Dickerman on the Modern Art Notes Podcast to enjoy this topic from start to finish. To see what amazing combustive artistry comes forth from you, here is Arnold Schönberg’s String Quartet No. 2.

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his Plotlines art blog on Tumblr. Connect with Michael on Facebook and Twitter as well. Subscribe to his studio newsletter here.

Increase your Email Subscriptions Today!

Thu, 27 Dec 2012 17:21:18 -0500

Expand your newsletter and blog followers today with some of my suggestions below. The volume of marketing from small businesses working from home is exploding, so don’t be shy, get out there and be proud of your amazing work and ideas.

Obvious Stuff:

Plugins for your Facebook, next newsletter, referral process (word of mouth #1),
Make sure the url is the direct subscription page at the bottom of every post. See sample: LINK
Put in your signature for your email. Same url as above.
Provide newsletter history or archive link (see your email client).
Timing - frequent and informative, not too often.
Don’t sell, inspire and inform your clients.
Have frequent updates and direction. Tell readers what’s coming in future newsletters.

Offer Freebies

Decorating, lighting house, creating still life with decor
Color! New, fresh combinations: Experiments you have tried in your work.
Free postcard, print card or sample - autograph and thank client.
Painting giveaway
Free Product - art or decor related
eBook articles: that compile to a larger book: Offer a tease (sample paragraph, partial list)…
Tangible Prize… take a picture of the product. Make it fun and yes, its completely worth the cost!

Make it Interactive:

Guest Write ups: Tell me about your memories from France and Italy (when promoting art from that region).
Contests: Guess this artist, have a survey (Survey Monkey) and gather important information from your customers.
How To’s & Techniques - what are you learning? Share it!
Breaking News… local shows, exhibits, other artists.
Guest Blogger: Have a client, colleague write a full segment.
Social Media How to…cool updates, new features on social media.
Thank and write feedback for comments and follow ups.
Ask Questions at the end of the post - post answers in next newsletter.
Have clients help provide a name for a piece up for auction.

Reach Out:

Post on content related forums, blogs, etc. frequently, put url in (if permitted) or in your signature for forum. (This step is a bit of a drag as you will most likely have to create an account for each forum, many times a forum may have a waiting period until you are able to post.) The upside? Your are pinpointing and reaching your direct topical audience directly and for free!
Get out and meet people, go to shows, support other artists, classes, museums, and public events.
Promote and contribute to charity: Hurricane Sandy, School of the Blind, Helping victims. Always good to be community building.
The best for last - Surprise your followers! Do something fun, crazy, sell a painting, video yourself delivering the money to a charity. Provide bloopers of funny mistakes and mishaps making a video.

Do you have suggestions to add to this list? If so, post below or email them to me and I’ll add your suggestions so others can have a nice list to work from.

Receive more updates and jubulations on my newsletter. :) And send yours back! Who knows, I may send you a free art card.

by Michael Accorsi On June 2nd, Oakland ProArts Gallery gallery...

Sat, 09 Jun 2012 15:27:00 -0400

by Michael Accorsi

On June 2nd, Oakland ProArts Gallery gallery helped host East Bay Open Studios which promoted the work of over 400 artists from Fremont to Richmond. The event was fantastic. Garages, studios, houses, apartments, warehouses were full of art. Seemingly, every street and alley had something vibrant and creative happening. It validated the cliche Art is the only thing left in the world as it brought people together.

I wrote up a brief summary in an earlier blog post if you would like to read more. Of the hundred or so artists that I saw at Open Studios, the expressive paintings of artist Paula Boas stood out with their movement and depth. Artistically, her work reveals a sense of natural tension as elements of simplicity-complexity and competing styles of clean edges-expressive strokes vie for your attention. I had the pleasure to meet and interview Paula about her work - so sit back with a fruity summer drink and enjoy the colorful abstract paintings of Paula Boas.

Spring IV, acrylic on Canvas, 36 x 36 in.

“My works are expressions of motion created from handwriting. Each of the paintings start with examples of handwriting, the design of handwriting – the shapes, forms, type of line whether it’s bold, thin, the effect and our reaction to handwriting.”

Growth acrylic on Canvas, 36 x 36 in.

“In the work titled Growth I have multiple layers of handwriting and the movement of the letters, showing through. The object is to be able to see things coming up through the canvas underneath the painting surface.” “I tend to be non-objective in most of my work but like the painting Spring IV (above) - leaf symbolism gets into my work, I didn’t plan this, the painting kind of evolved this way. I like how the yellow green work the form of the leaf that comes across in this painting.”

Underpainting for Floral Essence, acrylic on Canvas, 24 x 24 in.

An example of the process behind Paula’s work is shown in the photograph above, Underpainting for Floral Essence. Boas states, “I am interested in the visual effects of using text and script as line, shape or pattern. My lyrical works evolve as I reveal, obscure and re-expose layers of paint, script, graphite, and paper to create subtle yet complex surfaces. I start with an idea or color sense, but then improvisation takes over and the paintings move in new and sometimes unexpected directions.”

“In the painting Floral Essence I incorporated the word indubitably into to the painting as when I was working on this piece my nephew was using the word endlessly. I worked in more flowing shapes and movement, then quiet the painting, constantly eliminating.”

Floral Essence, acrylic on Canvas, 24 x 24 in.

“In the painting Escaping (pictured below), is another way of using form and shape in handwriting. Its an improvisational process - bright layers of paint, then I lift it through, you can’t paint that line the same way you can lift it out or scrape it.”

Escaping, acrylic on Canvas, 30 x 30 in.

“In the painting Tranquil Message it’s about using the elements of the water’s edge. Bringing into it a lot of writing, pulling together a drawing point of sea to sky, all of these elements bring forth a sense of movement in their abstractions.”

Tranquil Message, acrylic on Canvas, 40 x 40 in.

As an artist what I appreciate the most about Boas’ work is her sense of balance and control with her media and subject matter. I studied her work for sometime prior to meeting with her, and felt the punctuated points of each painting. Abstract work communicates familiar and powerful messages that make our right brain work and search for explanation, clarity, and purpose. Paula Boas paintings give much to study - some improvisation and expressive movement, off-set with clean contrasting edges.

Yellow Cello and a Bowl of Fruit, acrylic on Canvas, 30 x 30 in.

Above, mixed media on Canvas, 24 x 24 in.

Paula Boas is a former engineer who has been painting for over seven years. Originally from Pittsburgh, Pennsylvania she studied engineering at the University of Maryland. Currently her work is available at Lafayette Gallery, Valley Art Gallery, and Art Conceptsin Walnut Creek. You can also contact her directly to beautify your home or business with one of her beautiful works of art.

Artist Paula Boas at East Bay Open Studios

On the Edge, acrylic on Canvas, 40 x 64 in. (background paintings)

Official Website of Paula Boas

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his Plotlines art blog on Tumblr. Connect with Michael on Facebook and Twitter as well.

PLOTLINES art journal: The Spectacular Work of Photographer Marissa McPeak

Wed, 06 Jun 2012 12:04:49 -0400

PLOTLINES art journal: The Spectacular Work of Photographer Marissa McPeak:

michaelaccorsi:

The Spectacular Work of Photographer Marissa McPeak

by Michael Accorsi

Recently, I saw the brilliant work of Bay Area photographer Marissa McPeak on a collaborative project in San Jose. I think over the time I worked with Marissa the camera was around her neck even during meals.

I was…

La Bellezza della Toscana (The Beauty of Tuscany) I had...

Mon, 04 Jun 2012 18:53:00 -0400

La Bellezza della Toscana (The Beauty of Tuscany)

I had originally planned to compile all of the travel paintings from a summer trip to Italy later this summer. After seeing the pictures, the Facebook posts from friends and artists in Italy who have been devastated by recent earthquakes, I rushed to put this together to try and do something to help. Even while writing this and compiling pictures of paintings, I read of another aftershock (5.1 magnitude) earthquake struck in Novi Di Modena in Emiglia-Romagna (News Link).

Montalcino Watercolor, ©Accorsi Studios.

Catholic Relief Services has a operative in Rome - Caritas Internationalis where people can donate to help. CRS has the highest percentage of funds that directly help the poor and traumatized in the world and I have worked with them for over 15 years. If you would like more information on how to help - click here.

I have compiled more than 20 paintings that are finally home from a show and will donate 10% of all the proceeds of sales of these paintings to CRS’s relief effort in Rome to help earthquake victims, children and reconstruction efforts.

ITALIAN PAINTING GALLERY

Vinyard di Montalcino, watercolor on paper. ©Accorsi Studios.

ITALIAN PAINTING GALLERY

My family and I spent a vacation together in Montalcino during the summer of 2007. Each morning I would wake up before the full sunrise to walk to capture the beautiful landscape of Montalcino and its vineyards while it too was still sleeping. The only movement were the old ladies making breads in the dimly lit bakery. Along the ridge near the Rocca di Montalcino fortress at the top of the town, I would sit and sketch privately for hours. The colors of the landscape seemed to be more brilliant before the hot Tuscan sun bleeched their hue. Trees seemed to be red, orange and violet at their base. The fields a cool blue and olive vermillion. The distant mountains were violet and light blue in the distance. The floor of the valley beneath Montalcino looked as if it were a quilt of yellow, olive, and orange patches woven together with light rises of hills in between.

Montepulciano, crylic on canvas. ©Accorsi Studios.

Take a look at the Italian paintings that were inspired by this trip. I will donate 10% of the proceeds to the CRS earthquake relief effort in Rome. It is such a beautiful place full of heartfelt and passionate people. Thank you for supporting art and helping people recover in Italy.

Essence of Montepulciano. mixed media and collage on canvas. ©Accorsi Studios.

ITALIAN PAINTING GALLERY

East Bay Open Studios, June 2-3, 2012. Notes from visiting the...

Sun, 03 Jun 2012 16:36:00 -0400

East Bay Open Studios, June 2-3, 2012.

Notes from visiting the galleries, art studios, and collectives in Oakland and the East Bay in Northern California on Saturday, June 2nd…

The people and organizations that drive these events deserve as much attention and acknowledgement as the spectacular artwork itself. Months of planning, redtape, and marketing culminate into a purposeful exchange between enthusiasts, artists, and gallerists. Special thanks to Pro Arts studio in Oakland for supporting local emerging art in the Bay Area!

What a spectacular weekend of events in Oakland this summer. Seeing the vibrant, positive interaction between people along warehouses on 26th Street, Jack London Square, and along the many back streets - is a beautiful thing. Founded by Hiroko Kurihara, the Collaborative is, “an incubator of slow-food and slow fashion artisans practicing local, ethical manufacturing and innovative resourcefulness.”

Here’s a quick video span of the interior of the place…

Seemingly every alley, vacated business location, and warehouse was a cove of fantastic art and creativity of Oakland and East Bay Artists. Please check out some of the fantastic artists showcasing their work this past weekend.

Elizabeth Zanzinger

Erica Pollock Norelius

Eunju Jang

Nora Akino, printmaking

Jenifer Peake Kolkhorst

As an artist I can attest to the appreciation and thankfulness each of us have to the people and groups that work and financially support local art. Events like this bring the community together, inspire, address strife, and heal. Decorate your house, give a gift, buy a piece of art from these or any artists. Here is a list of Open Studios participating artists in this year’s event. Thanks everyone for an uplifting and fun weekend.

by Michael Accorsi

Michael Accorsi is an artist and blog writer in the San Francisco Bay, California. His work is displayed at www.michaelaccorsi.com and he writes for his own art appreciation blog at Plotlines Art Journal. Say hi on Facebook or follow his ridiculous tweets on Twitter.

Gordon Smedt, Mountaint, Oil on...

Sun, 20 May 2012 22:20:00 -0400

Gordon Smedt, Mountaint, Oil on Canvas 72 x 80 in.

by Michael Accorsi

The San Francisco Art Fair surprised art lovers with one of the art events of the year on the waterfront piers of Fort Mason jutting out between Alcatraz Island and the breathtaking vista of The Golden Gate. The fair pleased the Northern California art enthusiasts with well over 68 local, national, and international art galleries exhibiting their finest work. Founder and Executive Director, Rick Friedman’s vision to create and host a first rate art event in San Francisco delivered an invigorating statement that the art industry is vibrant in Northern California.

SF Art Fair, photo by Michael Accorsi

The show at Fort Mason was held in conjuction with shows at ArtHaus on Brannan Street and the San Francisco Academy of Art. The fair’s main exhibit Anything Goes: The Whit and Whizdumb of William T. Wiley proudly displayed the riveting work of art veteran William T. Wiley,curated by SF based curator DeWitt Cheng. Additional events on Saturday focused on the music, art, and dance of Chinese culture with events showcased throughout the day.

William T. Wiley exhibit, photo by Michael Accorsi.

With seemingly thousands of noteworthy pieces of art, here are some of the standout exhibits by galleries at this year’s fair:

Christian Hohmann Fine Art exhibited work, photo by Michael Accorsi

Christian Hohmann Fine Art gallery in Palm Desert exhibited spectacular large paintings by Croatian artist Zivana Gojanovic pictured below.

Zivana Gojanovic, Figure K9, 2011, Oil on Canvas, 48 x 48 in.

Hohmann’s display also presented the abstract figurative paintings of Bay Area painter Michael Azgour. Be sure to visit the Christian Hohmann gallery to puruse the brilliant work of Eberhard Hueckstaedt.

SF Art Fair, photo by Michael Accorsi

British Columbia gallery, Realism Fine Art Gallery presented spectacular figurative work by renowned artists such as: Malkolm T. Liepke, Nikolai Blokhim, Alexander Sherversky, Sorin Sorin, Nadia Lozano, Zin Lim, Andrei Belichenko, Alexei Veilikjanin, Vladmir, Goncharuk, Tamara Korako.

Stephanie Breitbard Gallery Exhibit, photo by Michael Accorsi

Mill Valley, California gallerist Stephanie Breitbard displayed the bold and gripping work of Jylian Gustlin and Paule Dubois Dupuis.

The Studio Shop Exhibit, photo by Michael Accorsi

Perhaps the surprise gallery of the day for me was The Studio Shop out of Burlingame, California. Managing Partner, Janet Martin was engaging and enthusiastic about the beautiful work of painter Melinda Cootsona.

Montse Valdes, 3-3-12, Oil on canvas, 58 x 58 in.

Breathtaking work from Villa del Artes Galleries from Barcelona, Spain (pictured above) stood out among some of the top international galleries. The delicate, yet textured full-sized portraits spoke of Valdes’ sophistication and technicality as an artist.

Westwood Modern Gallery Exhibit, photo by Michael Accorsi

Carmel’s Westbrook Modern Gallery showcased the powerfully textured paintings of Dennis Hare, pictured above and below.

Westwood Modern’s Dennis Hare paintings photo by Michael Accorsi

When the day was done, the gallery I revisited and one of the many that left enthusiasts buzzing was Hamamjian Modern of San Francisco. Paintings by Gordon Smedt and Douglas Andelin filled their display as onlookers gazed and the fantastic contemporary samples of modern art.

Hamamjian Modern’s Exhibit photo by Michael Accorsi

Congratulations to Rick Friedman, the San Francisco Art Commission, and the dozens of sponsors and participating galleries that made this year’s event a remarkable success. For a list of participating galleries and sponsoring agencies, please visit the San Francisco Art Fair. Also find participating galleries at the ArtHaus show.Please share my video highlights of the SF Art fair with your art and Facebook friends.

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his blog Plotlines Art Journal. Connect with Michael on Facebook and Twitter as well.

Female Model, 24x30, Oil on Linen by Michael Accorsi Peruse...

Sat, 12 May 2012 14:51:00 -0400

Female Model, 24x30, Oil on Linen

by Michael Accorsi

Peruse Jason Juan’s expressive, figurative work with your favorite music playing and glass of wine - it’s an experience within itself. I had the opportunity to interview Jason this past week for EIL - enjoy!

MA: Tell us a little about your art background and studio. Where do you do most of your work?

Jason Juan: I recently moved to Bay Area. The art scene is still new to me at this point. For the last nine years I lived in Seattle and worked with Eastside Artists Collaborative, Gage Academy of Art, and Art or Not Terminal. I learned a great deal at EAC which is run by Larine Chung. We started to incorporate windows with natural light to the settings which create the best quality of lighting on the subjects.

Artist, 12x16, Oil on Linen

Artist is a portrait of my artist friend. It is such a joy when a painting got done so smoothly and everything just feel right. If the setting and lighting are right, the painting is halfway done. When I was painting him, he was actually drawing as well until the last ten minutes I asked him to look at me so I could finish the eyes.

MA: Can you tell us the methods you use to start a large work?: (sketches, smaller mock-ups, etc.)

Jason Juan: Before I paint a large sized painting, I prepare a smaller oil sketch usually around 9”x 12” to 16”x20”, or Charcoal/Pencil sketch which is usually 8.5”x 11”. With large work, it has to be done in several stages. I prefer to paint straight for a few hours so the canvas is still wet or wait for another week until it totally dried so I can work on it again. Sometimes sandpaper is used in the process especially for the smooth area such as skin before I put another layer of paint. I also paint over my old work a lot if some of the abstract elements in the old work is something I was to help in the composition for the new painting.

Temptation, 24x30, Oil on Linen

Temptation is a painting I developed from a quick sketch at one of my drawing sessions. The primary sketch is pictured below.

MA: What I enjoy about your figurative work is the interplay between realistic classical figurative work, then some interpretive contemporary twists and loose styles – how does this ability to have versatility work for you?

Jason Juan: I believe the contemporary twists and loose styles you saw in my paintings were from what I learn in Chinese calligraphy. Chinese calligraphy contains many elements which I feel has big connection with human figures, and sometimes I even feel they could be the same such as certain curve lines, compositions, and the power of the strokes.

Figure Sketch, carbon pencil on paper

MA: Are there any contemporary artists that you admire or made impressions on your work?

Jason Juan: There are many contemporary artists who have inspired my work. Here are just few of them: Chuck Close, Lucian Freud, David Leffel, Jeremy Lipking, Nikolay Blokhin and Carl Jackson, who is one of my instructors in school, and he shared personal and painting experience with me while I was learning to draw between 2002-2005.

The Light #3, 22x28, Oil on Canvas

MA: Where can interested collectors see and purchase you work?

Jason Juan: I worked on both traditional media and digital media. Waterhouse Gallery at Santa Barbara carry some of my oil paintings. Visit my blog or contact me for more detail info if you are interested in more paintings and limited archival paintings of my digital works.

Jason Juan in his studio

Jason Juan is a traditional and digital artist working in the San Francisco Bay area. After working for nine years in the Seattle art scene Juan is making an impression on contemporary artists across California. See more of his work and drop him a note on his blog. Jason Juan website

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his blog Plotlines Art Journal. Connect with Michael on Facebook and Twitter as well.

Artists Giving Back: School mural project on Navajo...

Mon, 30 Apr 2012 21:58:00 -0400

Artists Giving Back: School mural project on Navajo Reservation

by Michael Accorsi

Summer of 2005 an ambitious group of students and I ventured down to Tuba City, Arizona to volunteer and complete some service work projects in the summer education program on the Navajo Reservation. We split into two groups one at Tuba City Primary, the other in Eagles Nest elementary school.

An amazing Navajo artist completed a beautiful mural in the center of the school so the administration of the school asked me to do a series of paintings to promote reading between the second and third grades which led to the library. Almost like a small book within itself.

And I only had three days to complete the job. The problem is the wall itself had to be repainted so I didn’t have fresh blocks of color against a weary tan wall. Also, I really only had 3 colors, found a little yellow. The good news - its hot in Tuba City and paint would dry in half the time. I decided to make a dozen or so panels using a familiar cartoon character - Snoopy and the story of the Precious Present by Spencer Johnson.

The book the precious present by Spencer Johnson is a book that my father gave to me as a sentimental gift. It is a story I have utilized in the classroom and on trips and retreats with students. Its a wonderful fireside story to read to kids of any age.

Something particularly significant with The Precious Present and Navajo culture is Navajo people are keenly aware of the living in the present - and maintaining a deep connection to time and tradition. The traditional Navajo home the hogan has a door that faces east to pray and give homage to the rising Sun each day. This serves as a fresh rejuvenating start to a new day and permits the troubles of yesterday to dissipate.

I altered how I portrayed the story to the Navajo children to incorporate some of these themes that are familiar and sacred within their culture.

People always want to know ways that they can help - either by sending donated items or money. I always suggest to donate to Fr. Blaine Green at the Lady of Fatima Catholic church in Chinle, Arizona by Canyon de Chelly. He facilitates two organizations that help Navajo people: a clothing donation center and the Talbot House which provides support and help to those struggling with alcoholism on the reservation. If you are interested in helping the church here is a link with their contact information.

Michael Accorsi is an artist and blogger in Northern California. His oil paintings can be seen on his website. Follow Michael on Twitter and on his studio Facebook page.

Harry, 2007, Charcoal, pastel, acrylic on paper, 28 x 22 in...

Sat, 28 Apr 2012 20:38:00 -0400

Harry, 2007, Charcoal, pastel, acrylic on paper, 28 x 22 in [pictured above].

Painting is the primal impulse to mark. It’s a visual record of the mind, the body, and the human spirit. For me there’s an urgency to both create and destroy. Maybe it’s out of sheer frustration that I work. Maybe it’s just to satisfy a need to violate or to contradict. I’m not sure. There is a strong feeling though and I feel compelled to communicate this feeling.

Nuit #5

Concerning content and meaning in my art, I’m never quite sure. The work seems to be layered with different meanings. It primarily deals with vulnerability, fragility, and submission. It conjures up past images and emotions… feelings about the church, about nuns, relationships with my mother, with my wife, and other persons both male and female that all seem to play a part of each painting. And then there’s the surface, the physical quality of the work that eludes to decay, to violation, and to vulnerability.

Liar, 2008, Mixed Media on Panel, 24 x 24 in.

The surfaces of the paintings are like excavations, surfaces layered with a variety of materials… dry pigments, acrylics, tar, fabrics, oils, bonding agents, along with different clays dug from the Georgia soil. From these materials figurative images are unearthed. Their surfaces reveal the painting’s history, its process, and provide actual depth, both physically through build up and layering as well as emotional depth with destructive scarring.

Figure #75, 2007, mixed media on canvas, 72 x 72 in.

The works are an existential search for an abstract presence, an intuitive search into the unknown, a search for truth revealed through distortion and through exaggeration. I feel connected to the past, to a timeless tradition in art that has always been a primary concern of man…the expression of existence. It’s innate. It’s primal. It’s been there since the beginning and I too have become part of this search for meaning and identity through the creative process of art making.

l07 dymphna

Artist Bio Harry Paul Ally is recognized as one of the South’s finest painters. He has been a professor of drawing and painting at Valdosta State University in Georgia for more than 20 years. Harry Paul Ally has exhibited extensively in individual, group, and juried exhibitions since the 1970’s and has won numerous awards for his paintings across the nation. Harry Paul Ally utilizes a wide variety of materials - dry pigments, acrylics, tar, fabrics, oils, bonding agents, and different clays dug from the Georgia soil - “From these materials the figurative images are unearthed,” Ally states. “There is a markedly primitive feel to Harry Paul Ally’s work. Even with his raw figures, each canvas seems like a realistic moment in nature,” comments gallery owner, Bill Lowe.

Harry Ally in his studio

Hary Ally’s Website

Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his blog Plotlines Art Journal. Connect with Michael on Facebook and Twitter as well.

Artist Showcase: Aurore Lehilipponnat I am thrilled to...

Sat, 21 Apr 2012 14:59:00 -0400

Artist Showcase: Aurore Lehilipponnat

I am thrilled to introduce you to French artist Aurore Lehilipponnat. Connecting and seeing Aurore’s work online is inspiring for me as an artist. Her work is rich with movement, deep contrasts, and so expressive you can practically hear the message of her work.

portrait, graphite and charcoal, 65x50 cm

“We are the fruit of the encounters in our life,they absorb us, shape us, even those we dislike. We are the sum of all the things that accumulate in our lives. In this, we produce and reproduce all the elements that imbue in us. This long walk of life, this is the brush that came to meas a tool of expression, dissecting, contemplation of the surrounding world. A wall between reality and imagination, a shield against violence, brutality, and all sorts of afflictions which can injure the fragility of the soul if exposed to these elements for too long.” - Aurore Lehilipponnat

butoh 1, graphite and charcoal, 65x50 cm

MA: Tell us what is it like to create art in Trans-en-Provence? Which cities are most receptive for artists in Var?

Aurore: Trans-en-Provence is a place that I was immediately seduced by: the colors of the sky, sun and nature. When I arrived in the Var, I was coming for two weeks on vacation, I became transfixed by the beauty here. Art and painting is quite successful here because there are many tourists. The history and myth of St. Tropez and homeplace for Brigitte Bardot adds to the attraction of this beautiful port town. St. Tropez is a place both wild and coveted by the rich!

Introspection, acrylic, 65x50 cm

MA: Tell us how your artistic creativity began. Where did you study and/or train?

Aurore: I was was born with a paintbrush in hand, from generation to generation, my family has passed on artistic talents and I flourished in that environment. I drew constantly, which eventually led to my studies in the university in Bordeaux. There I achieved my degree in graphic arts. But my true inspiration began transform when I left the “university” setting and studied while I discovered life.

butoh 2, mixed media 65x50 cm

MA: Tell us how you about developing and setting up your subjects? Your beautiful style with figures is simply remarkable, how do you go about setting up your paintings? (can you please help tell the story behind a few pieces – subject and technique)?

Aurore: My work is often instinctive, I try to find a link between the subject and my mood. For me, it is important to create a link with nature, and the place of man, give him his true nature and place in the world. I work with natural pigments, such as henna, clay, earth, and I also try to merge the body and nature, so some of my works are called “nature incorporated.”

For years I drew my inspiration from real models but also based on images from Butoh dance, which fascinates me. I love working on the state of the soul, the dark side of human beings, suffering and hopes.

butoh 3, mixed media 65x50 cm

MA: What kind of art projects do you see yourself starting in the next few years?

Aurore: In the future I would like to travel and exhibit abroad to further my work. Eventually, I realize a move is the way for my painting to progress. My painting contributes to my life a lot, it is a form of painting therapy in a way, it releases and creates a portal where my current feelings can flow. In the future, I hope that my subjects are less tortured, and I lead the way to happier topics.

butoh 4, mixed media 65x50 cm

MA: Which artists have influenced your work the most?

Aurore: Many artists have always inspired a lot, but my master is Egon Schiele, I am fascinated by his talent and style. Every day I spend time to see different styles. I put a lot of time into studying detail. It’s wonderful with internet connections, it is easy to find immense talents every day!

butoh 5, mixed media 65x50 cm

Pictured is Aurore Lehilipponnat during one of her exhibitions with artist Serge Tenèze.

Aurore Lehilipponnat is an artist, painter in Trans-en-Provence, France. Please visit her website www.aurore-lephilipponnat.com to see more of her work. If you are interested in contacting Aurore, please email her at: a.lephilipponnat@gmail.com.

This article was written by Michael Accorsi for Plotlines Art Journal, April 2012. michaelaccorsi@gmail.com.

[pictured above, light around the body. 24” x...

Fri, 13 Apr 2012 03:43:00 -0400

[pictured above, light around the body. 24” x 36”]

Artist Showcase: Mark Horst

New Mexico artist Mark Horst creates poetic work in oil that captivate and hold your attention. His expressive natural composition, use of color and shading, make for a moving interpretative experience for the viewer. I continuously flipped between paintings with the subject in the same pose, which Mark altered the color-light schemes from warm to cool and the painting took on an entirely fresh and evocative meaning .

art studio of Mark Horst
Q: What is the art scene like in Albuquerque?

This place is full of artists and they’re good too and moving in lots of directions. The street scene is good—some great mural work. Lot’s of talented hip hop painters—whose work regularly gets wiped out by the mayor’s minions. Traditional landscape painting is big here and lots of people do it well.

A lot of artists can’t afford to live in Santa Fe. So Albuquerque—about 60 miles from Santa Fe—has a close connection to the Santa Fe scene—which is where the big galleries congregate.

Q: Where do you do most of your painting? What would you say is the best modification or change you have made to your studio over the years?

I have a studio in an old factory and I’m there most days. I’m a firm believer in boredom as a form of creative motivation. So I need to spend enough time with my work to get over being impressed or intimidated by it. So maybe the best change I’ve made is not to change much of anything.

Narcissus redeemed. 24” x 48” oil on canvas

Q: Can you tell us the methods you use to start a large work?: (sketches, smaller mock-ups, etc.)

For me a large painting is often easier than a small one—I just find the gesture and the ability to move more paint around helps me. So I used to start with small studies and then move progressively bigger, but now, often, it’s the opposite.

I still like drawing a lot. And I don’t at all mind drawing into paint. Sometimes I use charcoal in wet paint. Lately I’ve been dragging my pastels through paint. I don’t know if it’s a good idea, but sometimes when the paint is getting hard to work into, I can’t resist a good saturated pastel.

quiet places no.15. (oil on canvas 40x30)

Q: What aspect of creating your art has evolved the most over the past 3-4 years?

I guess I’m more patient with my work now. Four years ago, I’d work on a painting for an afternoon and if it wasn’t finished I’d probably paint over it. Now, I’ve found ways of keeping a painting alive or open for much longer. I’m not sure that makes them better, but it means I have more chances to get them off life support.

Q: Your brilliant overlapping of color and strokes that you use to create edges and lines.. how much of that is intentional, how much is spontaneous?

Can’t I be intentionally spontaneous? Hockney says spontaneity takes a lot of preparation!

So I do have a kind of dogmatic belief in the importance of destroying an image in order to save it. At every point in the process of painting, I’m working on ways to subvert my attempts to get everything in it’s right place. After working to render an image accurately, I might brush it into a blurred, Richter-esque mess. Or I might use a scrapper to distort and blend all the parts and pieces that seem to be all isolated and distinct. There are lots of ways to destroy and image.

After doing my Dionysian best, I stand back, survey the battlefield and try to find a way to move forward.

light no.6. (oil on canvas 24x30)

Q: Your figurative work has fantastic expression and emotion. I most of all enjoy the sense of transparency, incompleteness of some parts of the figure. If applicable, do any art critics question your strategy with your work? (perhaps from someone who’s artistic tastes evolve around realism?) What is your response to this type of feedback.

Well so far I haven’t attracted much critical attention, but I had a client in my studio the other day and he was looking at a painting and asked me if I often painted amputees! I couldn’t figure out what he was talking about until I realized he thought one my models was missing a leg.

Can I just say, though, that in my opinion “realism” is not very real. We don’t see things in this crisp, hyper-static state. When we see, we see motion, we see distortion, we see bits and fragments that we hold together with memory and an understanding of the world and how it works and what we can expect of it.

I think it was Charles Hawthorne [“Hawthorne on Painting”—a great book] who said that “a painting should always let the eye do some of the work.” Nothing is more tedious to me than a painting that has resolved every ambiguity.

The other thing I’d say is that realist are interested in getting everything into their paintings whereas, I’m always trying to take things away—to eliminate details that don’t support my overall goals.

four pears no.1 (oil on canvas 24x30)

Q: Which artistic influences do you reference from the most?

I try to look at everybody, but I do return over and over to Rembrandt, Velazquez, Chardin. I’ve always liked Diebenkorn and Uglow. Among our contemporaries I often look at Richter, Garcia-Lopez and Marlene Dumas. Sophie Jodoin, Alex Kanevsky are always great. My teacher Mike Karaken is a master of perceptual painting.

the secret life no.2 (oil on canvas 30x40)

Q: How much has the internet and social network created interest around your work?

Well it sure helps. Flickr was my life-line to the outside world for years. Before I showed my work to my own mother, I was posting stuff on Flickr and, you know, if you say nice things about other people’s work, they’ll do the same for you. And I can’t tell you how important that was when I was taking baby steps as an artist.

Artist: Painter, Mark Horst

Artist Mark Horst works from his studio in Albuquerque, New Mexico. If you are interested in seeing more of Mark’s work, visit his website: www.markhorststudio.com. For inquiries about purchasing Mark’s work, please email Mark at horst.mark@gmail.com.

Mark’s work is shown at Canyon Road Contemporary Art in Santa Fe, New Mexico.

This article was written by Michael Accorsi for Plotlines Art Journal, April 2012. [michaelaccorsi@gmail.com.]

20 Tax Reminders for Artists

Thu, 23 Feb 2012 19:40:00 -0500

20 Tax Reminders for Artists:

Norman Rockwell’s Stockbridge studio

Studio rent
Art supplies
Telephone/internet
Cabs, subways, buses, tolls, parking
Book, magazines, reference material
Copying, printing
Office supplies
Promotional Materials: (Post cards, website)
Film & processing
Gas and electric
Memberships (museums, professional organizations)
Messengers, private mail carriers, postage (print from usps, paypal)
Hanging fees, entry fees, framing
Business insurance
Tax preparation, legal fees
Travel
Business meals and entertainment
Business gifts
Equipment and software
Cultural events/ museum entrance fees

If I forgot to list something or you have advise to help fellow artists, please reply below or email me, I’ll be sure to pass it on. Enjoy!

Email Me

Untitled, (Galleon Ship Silhouette), 1986. by Ed Ruscha. ...

Tue, 16 Aug 2011 16:41:29 -0400

Untitled, (Galleon Ship Silhouette), 1986. by Ed Ruscha. Acrylic on Canvas.

Artist Profile: Ed Ruscha

The soulful and gripping artwork of Ed Ruscha has been a part of my creative voice since I first saw his acrylic ship paintings. Ruscha’s work is diverse, stretching from design and illustrative influences to contemporary work.

The delicate, moody yet serious tones strike a chord within me. Its as if at first glance he illustrated something I have thought or felt before.

Fortunately, Rushca’s work and exhibits are available to browse through his website. A diverse collection is available on the Gagosian Gallery’s website. If you’re in the LA area, the Hammer museum is featuring solo exhibit on Rushca titled, On the Road. It’s times like these that provoke artists to appreciate the gifts of the living artists, the beautiful impact they have on us and society.

I am simple an enthusiast of his work. I would greatly appreciate more information or feedback. Please leave your impressions of Ruscha below or through email.

I also have a Facebook page and Twitter profile, if you love art, keep in touch, the internet inspires and brings us all together.

Artist Profile: Nick Lepard Situated blocks from the...

Tue, 02 Aug 2011 16:35:00 -0400

Artist Profile: Nick Lepard

Situated blocks from the action of Rogers Arena and athletic village of the 2010 Olympics, the studio of artist Nick Lepard, is in the center of the rich cultural life of downtown Vancouver.

The tall ceilings, and expansive concrete walls of Lepard’s studio seem to provide the ideal workspace for Lepard’s huge canvas paintings. “I enjoy it here, it’s the perfect situation for me to try out some new directions with my work,” reflects Lepard. “For the past few years I’ve spent most of my time in Haida Gwaii or San Diego county. When I am in Vancouver, like up north or in California, I’m mostly just squirreled away in the studio.”

With his brilliant and fluid expression, the artistic voice of Lepard’s paintings is creating the resonance it deserves across the contemporary art scene. “I want my paintings to be fresh.” “The large pieces work in layers, so mistakes actually contribute really unique aspects. As the painting progresses and more layers are added, the image will be adjusted to become more “correct” but there remains a visible history,” Lepard states.

Nick’s use of color and lively brushwork leap the features of his portraits off the paint surface a sculpted depth and texture. Seeing his work up close its apparent Nick’s comfort and composition with a large canvas suits his style well.

His painting From Milan to Vienna was the first work I had seen of his. At first sight Lepard’s work reminded me of some other great artists who place their subjects close to the foreground such as Santiago Ydanez. What is unique with Lepard’s style is intense brush movement and creative palette choices – it captivates the viewer’s interest with seemingly so much to study.

He states, “There are things you can’t plan for that evolve from making mistakes or from happenstance. There are also the things that don’t look right on their own, but, from experience, you know will be contextualized by another part of the painting…so it’s a matter of patience and confidence and just letting some things sit.”

I then asked Nick a few questions:

What is the one tool in your studio you cannot live without?

NL: “I use my camera a lot. I find it valuable to shrink my pieces down to thumbnail size. It is important that they work up-close and from a great distance. I wonder though, if it is also the effect of living in Vancouver and seeing paintings mostly on the computer and as digital images.”

What artist do you reference from or find inspiration from the most?

NL: “I was just in NY and saw several Lucian Freud paintings at the MET. Being from Vancouver I had become familiar with his work through photographs, not having actually seen any in person. It’s weird, you have a relationship with this work… but then you see it and everything changes. I imagine it’s a bit like internet dating when you finally meet the person and you have all these opinions and expectations about them. You have a relationship with something, but it isn’t quite the thing itself. Painting is so material based. It’s about physicality and presence in space. Photographs of paintings really don’t capture a whole lot. So some of my influences are a bit skewed.”

What I didn’t know expect to discover during our visit was Nick’s passion and interest for surfing. Sparked by a surfing picture on his laptop, I was initially intrigued thinking he surfed off the coast of Vancouver. Only to learn Nick and his friends have driven to far stretches of Alaska and surfed the near freezing temperatures in the Alaskan ocean to catch a wave and enjoy an adventure.

Northern Gentlemen: Nick and his friends surfing in Alaska.

We all have our tales of waves and surfing adventures, but I would never in a million years surf in water that required a 6mm wetsuit. I went into the interview thinking I would be awestruck by his art, which was without question. As we drove away I shook my head in amazement and admiration that he not only surfed those waters, but seemed to enjoy doing so.

Nick Lepard is a artist and painter living in Vancouver, British Columbia. You can learn more about Nick and see more of his work by visiting his website. nicklepard.com.

This article was written by Michael Accorsi for Plotlines Art Journal August 2011.

Triple Distributors. acrylic, latex, and enamel on wood. ...

Mon, 01 Aug 2011 21:08:29 -0400

I created this old wood sign on wood as a tribute to my grandfather’s beer distributorship business. My father Ernie wrote the following description about Triple Distributors.

Triple Distributors by Ernie Accorsi

My father, Ernie Accorsi, Sr, started Triple Distributors in Hershey, Pa in 1937, just four years after the repeal of prohibition. There had been divided opinion if it was named after the three counties he served: Dauphin, Lebanon and Lancaster, or for the three partners: my dad and two “silent partners”: James DeAngelis, who along with his family owned the DeAngelis Restaurant beginning in 1935, three blocks away, and Stanley Booth.

It was a distributorship that sold by the case only. We had a series of pickup trucks (one at a time), usually Chevrolet but also Ford, all painted green with door identifying the business, always painted by a family friend from nearby Hummelstown , Sig Stroehman. To complete the circle of irony, Sig also painted game balls for the Baltimore Colts of the NFL, of which I later I became General Manager. We made home deliveries in the pickup through Hershey and Hummelstown. We also had a larger Ford “rack truck”, which we used to pick up large amounts of cases directly from some smaller Pennsylvania breweries like Graupners in Harrisburg, Old Reading and from large wholesalers which provided us with name National brands.

Our biggest sellers were Ballentine ($3.25 a case of 24 bottles) and local brands like Horlacher ($2.65 a case) and Rolling Rock ($2.35) for the “pony bottles”. The “premium brands” at that time were Budweiser, Schlitz, Miller’s and Pabst. They sold for $4.35 a case for cans.

My father sold the business in 1964.

Santa Cruz sixth graders publish their own magazine: Tangerine...

Sat, 02 Jul 2011 22:28:09 -0400

Santa Cruz sixth graders publish their own magazine: Tangerine Moon

Sixth grade girls, write, design, publish, and now sell their own magazine Tangerine Moon in Santa Cruz, California. The staff has a Facebook page set up and Bookshop Santa Cruz is currently selling their magazine.

Want to read more? Good Times magazine in Santa Cruz wrote an inspiring article about this project. This story renewed the confident and joy art and creation can instill in children that will last a lifetime.