Dusk 2011

Oil on canvas 16 x 20

Night Light

Continuing with the imagery of a light in the dark, this 30 x 30 canvas is the execution of an idea I've been mulling over for a while now!

Wood block re visited

A couple proofs of an image of California savanna woodblock print, with color hand rolled onto a monotype plate and over printed to create second image

A Birds Eye View

20 x 20
oil on canvas

More from Georgeann

The Dreamer

Blue Skirt

Drawings from the Southern Range of Light

Over New Army Pass at 12,000+ feet to Sky Blue Lake. Some selections from my sketch book.

Magic 8 Ball Fortune Telling Game, and Santiam Classic Fancy Cut Green Beans

The idea here was a burned out stand of trees

45 x 50
oil on canvas
2007

Beggar Dog Bisquits!!

Well, in the beginning at least, my crafting of landscapes from the compositional outlines presented from UPC codes seemed to evoke a sense of humor and absurdity in my work and in this piece I strove to pursue that to a kind of extreme. My favourite restaurent in Los Angeles was a mexican food establishment famous for its hip late night clientele, brown sauce that I was warned to avoid, and dangerous margueritas. They also had a wonderful collection of paintings of Mexican villages rendered on black velvet and little electric lights lighting up all the tiny cottages represented therein. With this painting I tried to capture some of that over the top yet sincere kitsch that I found in those paintings. Abandoning my usual bag of tricks in the pursuit of the perfect brush stroke, I went shopping at the local Michaels craft store, and the nearby fabric store for a full pallete of iredescent fabrics, puff balls, sequins, plastic pearls and puffy paint, and working on a beautifully stretched piece of black velvet with gold metal leaf, this image was born. My friend Vanessa did not approve! Perhaps one day she will reconsider.

Freemont Bridge at Dawn

Here is my final work so far involving the archetecture of infrastructure in the city of Portland. I realized that I've finished up with the series of paintings that I did for the Buckman School Art Show and Sell, but along the lines of the Show and Sell, this painting was made specifically for a fundraiser - a failed attempt by the Portland Art Center (PAC), to raise enough extra cash to keep it's doors open. The show was called "PDX Panels" The Art Center passed out 300 30 x 30 plywood panels to area artists to work with however they wanted. I followed the basic formula that I used for the Show and Sell, choosing to work from a photo of a familiar Portland landmark. I gave myself no time limitation for this painting, and therefore allowed myself to give it a more polished finish and plenty of artistic license in the sky, which was purely creative fabrication. A friend noted the similarity in the sky to Munch's painting "The Scream" Not intentional, but perhaps subconciously, my knowlege of art history leaks into my work occaisonally?

2007
oil on plywood
30 x 30

Steel Bridge, Portland OR

2004
oil on panel
9 x 12

The Archives

2003 "Frozen Lale", 1985 "The Lake", 1990 "Spring Thaw"

Image courtesy of Shawn Long Photography

cantact Rake Art for purchasing information

The Scroll, 6' of 220!

Here is the scroll in it's case at Rake Art Gallery. On the wall behind the case are high resolution digital prints scanned from the original drawing, and printed on high quality museum rag paper in an edition of 25 for each image. Larger prints are 74" x 14" and the smaller prints are 46" x 14"

Images courtesy of Shawn Long Photography

contact Rake for purchasing information

Selections from the Rock Garden

In August 2007, with the drawing "Flow" 2/3 complete, I did a series of 16 rock portraits in a sketch book while backpacking in Humphries Basin in the John Muir Wilderness in Fresno County. All of these portraits were transcribed into the scroll as part of its final 20' grand finale. In addition, a few of these portraits were incorporated into the paintings that were completed for the exhibit as well.

(appears in "Calm at the Top")

(appears in "Rock Still Life")


ink and graphite on paper
image size 5 x 7
framed size 9 x 11
Archival framing from Katayama Framing in Portland Oregon
dark finished walnut frame by Marcial del Cid of Aloha Oregon
8 ply museum rag mat, and UV filtering glass

$350.00 each

contact Rake Art Gallery for purchasing information

A Pair of Pairs, The New View!

Rock and Reflection
35 x 35
oil on canves 2002
1 of 2

Still Life Rocks
35 x 35
oil on canvas 2008
1 of 2

These images, mostly painted this past January were executed as a pair of diptychs where the canvases in each represented nearly identical images. As the work was being arranged for installation, I realized that by placing the two different images together and stacked vertically with the "Rock Still Life" painting as the lower image, I had a new diptych configuration that utilized the two separate images to create a single scene. Happy accident and lucky discovery. The pair of pairs worked as a very effective installation.

available individually for $1,200.00
contact Rake Art for purchase

Thirteen Stones

As promised, here is Thirteen Stones in it''s entirety.

40 X 65
oil on canvas
2008

$3,500.00

contact Rake art Gallery for purchasing information

Paul Landacre 1893 - 1963

"Sultry Day" 1937

Well, here is an image from an artist whose work was pivitol in bringing me into the fold of representational and poetic imagery. At the time, I was working through a process of creating paintings that were scuptural objects and intended as spirit traps. In Paul Landacre I found imagery that evoked a kind of mystical connection to the landscape of the Southern California of the 1930's and 40's and the powerful images created by his medium of black ink and wood block printing spoke richly of a grand landscape in spite of the intimate size of the actual image. I saw an extensive collection of his work in 1983, which was a very productive year for my own work. As I look back on my work through that period I can see that my work was to be deeply effected by what I discovered at that show. It took a couple years to assimilate this new language and my production in 1984 was at an ebb wile I strugled to reconcile what I was doing with my work, and what I now wanted from it. I found my new path in 1985 and my inspiration blossomed while I focused on perfecting a new craft, in the use of oil paints. Then in 1987, my 15 year hiatus began.

This beautiful scene shows Landacre's wife and cat in their Los Angeles home at a moment of blissful tranquility. In the background, the hills radiate with the heat of a summer afternoon. The only other artist I know of to capture this so beautifully, is the author John Steinbeck

I Bought Andy Warhol

In 2007 I completed a series of canvases that had Andy Warhol as a conceptual subject for landscape paintings with trees arranged in patterns according to UPC codes from product labels that related to Warhol in one way or another. I refer to this endeavor as "The Andy Warhol Bar Code Project" and it's main presentation was a 32 piece instalation of paintings based on the 32 flavors of Campbells Soup from Andy's first exhibit in 1962. In addition, I painted a triptych of larce canvases using bar codes from books related to him. This I call "The Philosophical Triptych - Reflections of the Philosophy of Andy Warhol" Warhols own book, The Philosophy of Andy Warhol, forms the connective tissue that binds the three paintings in this series. All three paintings have reflections of trees in a body of water and the common thread in the triptych is the trees in the reflections, all composed from the UPC code from Andy's book. The actual trees in each painting however come from different books. This is the center panel. It is a 72" square and features the bar code from Richard Polsky's humerous and revealing look behind the scenes of the international art market, "I Bought Andy Warhol". I have nicknamed it "Andy's Island"

This painting is featured in the current issue of Oregon Home Magazine

http://www.oregonhomemagazine.com/articles/portfolio/scan-this-the-art-of-the-barcode.html

I Shot Andy Warhol

This, the second image from the Philosophical Triptych Borrows the UPC code from the published screenplay from the mid 90's film of the same title about the assination attempt on Andy Warhol in 1968 by an angry aquaintence, Valerie Solanis. In this painting, unlike all of my previous images utilizing bar codes, the code is read in the negative space between the trees rather than in the dark tree trunks. The reason for this is directly related to the image in the third canvas

Marquam Bridge

Another Portland bridge also about 9 x 12 oil on panel and painted at the same time in March 2004.

The Lake

This painting from 1985 marked the beginning of my explorations into landscapes, and water in particular, as my primary imagery. This painting went through many manifestations and garish colour schemes before a trip into the High Sierras that summer implanted a new vision in my mind. I re-worked the painting entirely, keeping only the whirlwind at the center. It's large horizontal dimension, 8' long causes the image to stretch out into ones peripheral vision when they stand close to study the whirlwind, simulating the experience of being there.