PUEBLO, Colorado 2023
PARIS 2004
My work has revolved primarily around people for the last six years. I'm a teacher and always observing and studying people in real life and this helps me greatly intuitively when I am painting portraits. The portraits are painted on wood in oils with a laqué paint base to coat the wood before I start. The portraits to be seen on this site at the moment are Indian portraits. Alot of Hopi Indians, but I didn't do that on purpose. I am just naturally attracted to these Indians, especially the women and the medicine men-healers and warriors. lWhen I have the total vision of the person then I start to paint. I am currently working on (this was in 2002) a series of Asian portraits from all parts of Asia, but again I am especially attracted to Mongolian, Tibetan and Chinese personalities. Color and form are of course very important and sometimes, as is the case of the Indian woman draped in a many-colored blanket, the subject becomes more abstract. There is also a universal or global idea behind these portraits seeing bits and pieces of parts of ourselves when we paint portraits of others. I had an exposition of this group of paintings in March 2001 just outside of Paris.
June 2005 : As far as painting goes, I tend to agree with those that say little, and prefer to let the paintings speak for themselves, however I do think it is important to talk about what happens on the” inside” and particularly when we are propelled into another dimension through paint, colours and forms and when this propulsion becomes so intense that it becomes an every day occurrence and need, not a “sometime” or a “one time, from time to time” occurrence. I want to talk about what happens when we are on this particular path,( I see it within myself as well as in my students who have also chosen to use painting as a tool and a path.)
What seems to be important on this path is when there are “breakthroughs”… when all of sudden the “pieces” of what we have been working on for a short or a long time seem to coagulate into a mainstream idea within our own imagination.. This is an exciting feeling ! Like discovering a new land or a new space to explore.
Things also seem to “bottleneck” just before the breakthrough,meaning we have the impression of being in a space that is just too small and no longer comfortable..so of course the feeling of discovery is even greater. This is what has just happened with the “Collage” works on the .
All of sudden I started seeing how different paintings actually fit together into a whole in terms of colors, ideas and forms . Repeating the motif (in the form of the painting ) also help to increase the effect when you see the paintings re-united together. It is as though we were able to start painting the “pieces” of the master plan and then were able to see at last how these pieces all fit together. I know this is going to have an effect on future paintings. I don’t think it can be any other way as there has been a sort of ...
Those that mourn their beloved hearts...
Galerie ARTMONTi Isle St. Louis
Oil on Canvas
ST MARCEL dans l'INDRE
Latest exhibition in the USA in a new art gallery opening this weekend May 15 in Woodland Park in the Rocky Mountains, Colorado.
On Exhibition : NEPTUNE RISING
SUMMER IN PARIS (la tour Eiffel)
LA VEILLE VENISE
CHIEFTAIN
HOPI WOMAN
Galerie ARTMONTI , Isle St Louis Paris
Exposition 2-14 septembre 2005
LES AUTOMNALES du 15 OCTOBRE AU 30 OCTOBRE 2005 SALON DES ARTS dans les GALERIES ART ET CULTURE...ART GALERIE..GALERIE MUNICIPALE...LE PITOLAT ST MARCEL
"Femme Sarte", "Femme Samarkind", "Alma, la Reine des Danseuses", "Femme Turkmène", et "le Chant" y seront exposés.
DECOURTENAY GALERIE Chatelet, BELGIQUE 26 novembre au 31 décembre 2005
Crescent City, California.USA June 1988
Le Kiosk, Villers Cottêrets, France May 2000
L'AUBERGE Les Chapelles Bourbon permanent exhibition 2004
Festival Jazz et Terroir 19 juin 2004 Les Chapelles Bourbon
Galerie ARTMONTI , Isle St Louis Paris
Exposition 2-14 septembre 2005
This is my Studio for Music and Art in Pueblo, Colorado where I teach violin, viola, cello and piano and where I am able to paint.
This website has received the 2004 Artmajeur Silver
Award
2005 Prix "Premio ALBA 2005"
Diplome d'honneur de ART ET CULTURE
Nomination ACADEMICIENNE CORRESPONDANTE 2006
ACCADEMIA INTERNAZIONALE " GRECI - MARINO"
ACCADEMIA DEL VERBANO
DI LETTERE, ARTI, SCIENZE
"Nous vous avons attibué le titre supérieur de Academicinne Correspondante pour le haut professionalisme montré dans le domaine artistique."
PUEBLO, Colorado AUGUST 2017
Opened the Clydesdale Music and Art Studio in downtown Pueblo where I can teach cello and paint (finally!)
The Studio will be used as a Gallery and as a venue for Classical Concerts starting in September.
The first GEISHA portrait painting was finished last Sunday and there are eleven more portraits of these very special
women coming up in preparation for an Exhibition I hope within in the year.
PUEBLO, Colorado August 2016
New Studio in my new home... working on the African Vulture Portraits.. #2 with outspread wings.
PUEBLO,Colorado MAY 2015
New series of paintings now. Living in Pueblo, Colorado and teaching at CSU-Pueblo Cello and String Bass, as well as in my private music studios here in Pueblo and in Colorado Springs. Now Summertime, and time at last to paint. A new series of paintings now inspired by the panoramic skies seen on the road from COS to Pueblo throughout the four seasons. Most spectacular in the last few months because of so many storms, cloud formations and interspersed sunlight.
PARIS 2004
My work has revolved primarily around people for the last six years. I'm a teacher and always observing and studying people in real life and this helps me greatly intuitively when I am painting portraits. The portraits are painted on wood in oils with a laqué paint base to coat the wood before I start. The portraits to be seen on this site at the moment are Indian portraits. Alot of Hopi Indians, but I didn't do that on purpose. I am just naturally attracted to these Indians, especially the women and the medicine men-healers and warriors. lWhen I have the total vision of the person then I start to paint. I am currently working on (this was in 2002) a series of Asian portraits from all parts of Asia, but again I am especially attracted to Mongolian, Tibetan and Chinese personalities. Color and form are of course very important and sometimes, as is the case of the Indian woman draped in a many-colored blanket, the subject becomes more abstract. There is also a universal or global idea behind these portraits seeing bits and pieces of parts of ourselves when we paint portraits of others. I had an exposition of this group of paintings in March 2001 just outside of Paris.
June 2005 : As far as painting goes, I tend to agree with those that say little, and prefer to let the paintings speak for themselves, however I do think it is important to talk about what happens on the” inside” and particularly when we are propelled into another dimension through paint, colours and forms and when this propulsion becomes so intense that it becomes an every day occurrence and need, not a “sometime” or a “one time, from time to time” occurrence. I want to talk about what happens when we are on this particular path,( I see it within myself as well as in my students who have also chosen to use painting as a tool and a path.)
What seems to be important on this path is when there are “breakthroughs”… when all of sudden the “pieces” of what we have been working on for a short or a long time seem to coagulate into a mainstream idea within our own imagination.. This is an exciting feeling ! Like discovering a new land or a new space to explore.
Things also seem to “bottleneck” just before the breakthrough,meaning we have the impression of being in a space that is just too small and no longer comfortable..so of course the feeling of discovery is even greater. This is what has just happened with the “Collage” works on the .
All of sudden I started seeing how different paintings actually fit together into a whole in terms of colors, ideas and forms . Repeating the motif (in the form of the painting ) also help to increase the effect when you see the paintings re-united together. It is as though we were able to start painting the “pieces” of the master plan and then were able to see at last how these pieces all fit together. I know this is going to have an effect on future paintings. I don’t think it can be any other way as there has been a sort of altered vision now when I sit down in front of the canvas.
.
UDINE, ITALIA May 2007
A new life and a new vision of things. Tara in the fields was done in September before I left for Italy. The most recent painting is Madonna in the fields. These two paintings have been done with a different approach, not only in my mind's eye ( a consolidation of sorts of the the major themes of the last five years) but also a change in technique which has happened gradually and as a consequence. Teaching has had an effect on this change in my way of painting as well. My students have taught me as much or more than I ever taught them, that is a fact. All stems from one's "vision" and perception of things and the technique follows in line as the vision changes. To be continued.
COLORADO SPRINGS, COLORADO 2008 New Forms
Painting again after months without, reflecting and consolidating in a certain sense, in terms of colour and forms, product of the past and the present..looking for and going deeper into the essence where it all comes from..
May 2010
In Colorado Springs, teaching, playing, performing as a cellist again and teaching music... painting and painting... again. First exhibition this month in the Mountain Rains Gallery in Woodland Park way up in the Rockies on the way to Pikes Peak. A different and purified atmosphere now, here and a new focus for painting ... still the same themes but in a "new" light different from the light of Italy...
COLORADO SPRINGS November 28, 2012
A new opening.. a progression..after four years going on five years here. A new understanding of the large painting done several months ago ..." The Rising Moon" as well as for "Coeur Ouvert" and "Somerset". These paintings have taken on new meaning in view of the evolution of my situation here in Colorado Springs. The three paintings, in fact, are very closely linked in color-schemes as well as in their individual, unconscious, now-becoming-conscious, raison-d'etre. Same for the connection between "Aurora Borealis", the first portrait, and "Blue Geisha", emotion after the Tsunami in Japan, in fact, the concentration of on the Emerging feminine energy in this day and time.
More of Aurora Borealis coming up as well as the abstract paintings like Somerset and Coeur Ouvert, which are spontaneous movements in energy fields of color.. I can see and feel them ...more later
What is painting, but in fact an "open door"? an ongoing exploration, expedition into our inner selves and our imaginations, individual and collective in the hopes of finding realities other than the one we live each and every day which appears to be static and never-changing, but which in fact is only an impression... for once we are able to "open the door" to our imaginations, many different realities begin to come to the surface of our every-day-normal lives.Why do some images just seem to "appear" on the canvas out of nowhere and others we have to "dig" to find through layers of reflection and paint until we decide that the painting is finished?
This is an ongoing question...
The ultimate objective for me is finding a way to communicate with each other wherever we are and whoever we are with the best we can. As a teacher this is of course always a premier concern.. as a painter the objective is still as high a priority but instead of using language and gestures, I can use form and colour to show undefined ideas and feelings which are subjective or difficult to put into words as we would be obliged to using language, (like dreams for example)and to convey a feeling and the impact it can have which can prove to be a very powerful influence in everyday lives.
We all know the power of dreams, don't really know what they are but different theories do exist. It doesn't matter in the long run if I can find a way to make them real and meaningful for someone else. In fact, it is a very rich way... subtle, because I see and feel certain things when I paint and others see and feel maybe the same thing or something else and that is, in fact what creates all the magic and depth and a means to communicate with each other in undefined, unreal-world-terms. Some things just reach out to others better through color and form than the limitations we encounter inherent through words.
