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.
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.
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 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.
Vinyard di Montalcino, watercolor on paper. ©Accorsi Studios.
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.
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 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.
![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.](http://25.media.tumblr.com/tumblr_m37ts1id7K1qlb475o1_500.jpg)
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
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 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.”
When I Was An Animal ©Nick Lepard.
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.
The Way In Which We Change ©Nick Lepard.
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.
From Milan To Vienna ©Nick Lepard.
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.
Monkey in Red ©Nick Lepard.
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.”
I Wanna Love ©Nick Lepard.
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.
