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Gerald Shepherd F.F.P.S.


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Painting, Digital Arts, Photography ... 82 Followers Member since 2009
United Kingdom

Added Aug 12, 2009
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INTRODUCTION TO MY WORK

GERALD SHEPHERD F.F.P.S.

IONIST ART

ART WORK:

When I began painting in 1974, I experimented with many styles. These included surrealistic paintings, abstracts, sculptures, assemblages, environments and text based art - many of which I have continued to explore. I also produce a wide range of conventional figurative work.

I wanted to find a means of continuous creation in my work and in 1976 I found a style that enabled me to maximise and test my inventive ability. I began to experiment with sequential and developmental formats that allow a systematic analysis and elaboration of a thematic image or idea. I also began to combine images, symbols, numbers and words with controlling structures derived from science and mathematics. With tongue in cheek I coined the term IONIST ART for this work (this is what you get if you remove express from Expressionist Art!). I have since used the more descriptive term of MEDITATIVE PROCESS ART for this very complex work.

My interest in system based art diversified in the eighties. I began to use music forms as structures for my work and also became fascinated with merging painting with writing and theatrical ideas - setting poetry to paintings, image dramas and performance pieces, etc. Typically, the music based work consisted of a thematic statement followed by a series of variations or a development section where the initiating material is expanded and explored.

I am also producing series of MEDITATIVE LANDSCAPES, STILL LIFES & PORTRAITS. This work combines observation with the systems, image sequences and symbols developed in my other work. The landscapes etc. attempt a more holistic representation of the natural world and the portraits attempt the characterisation of a person using colours, symbols and signs.

I have shown regularly at the Loggia Gallery in London and I have had many other exhibitions of my work. I have paintings in private collections, public buildings and on business premises throughout England. I show regularly with the international Free Painters & Sculptors as well as other national and local art groups. I have also exhibited with Elyn Carleton's "Creators" and "Innovators" groups.

I am happy to work to commission and I will consider any project, either solo or collaborative.

More information and an extensive gallery can be found on my web site:


ART GROUPS:

I founded the IONIST ART GROUP in 1987 to provide a means of exchanging ideas with like minded people and initiate collective projects. It had a large membership from the artistic and scientific communities. I published the ION EXCHANGE newsletter between 1989 and 1991 and arranged monthly Science-Art Fusion Forums in the London area between 1988 and 1992. It is still active as an exhibiting group and I am currently working on a new publication.

I expanded my areas of interest in the early Nineties and began to create and stage events of all kinds to raise funds and campaign for charities. Part of this work was done under the name of ARTISTS FOR ANIMALS. New events are planned.

In 1994 I began a series of exhibitions under the name of MODERN ARTISTS with the aim of presenting and promoting Modern Art in my local area. This group is still very active.

I continue to experiment with my art work and also expand the ways of presenting my ideas to the public. I am currently initiating the ADVANCED ART RESEARCH project with the aim of exploring new approaches to creativity in art and other disciplines.


I am profoundly interested in all the sciences, especially physics and chemistry. I am also passionate about geology, astronomy archeology, history and geography.

I have a more practical interest in all aspects of Natural History - including botany, zoology, palaeontology and ecology, particularly in terms of conservation. I work on a voluntary basis for the Wiltshire Wildlife Conservation Volunteers and I am a member of the Wiltshire Wildlife Trust.

I currently live and work in Andover with my wife, June; dog, Poppy; cats, Bugsy, Smudge and Isis plus various other pets.

Added Aug 12, 2009
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Reviews 1

THE ADVERTISER, JANUARY 12, 1990
Paintings from a world of ‘unlogic’

An extraordinary exhibition of paintings and drawings by Gerald Shepherd is on show at the University of Surrey’s Library Gallery until February 2.

In an heroic attempt to fuse art and science, Shepherd has invented a new. pictorial form - “process art”. The result, is a room full of highly detailed, very puzzling pictures constructed in such a novel way that they look like the creations of some quite separate culture.

A dedicated artist and an avid follower of the latest scientific developments, Shepherd has. devised an art form which develops rather like a pictorial equation to explore the dizzy metaphysical worlds of nuclear physics, biochemistry or advanced computer technology.

Inspired with almost missionary zeal. he has also formed the Ionist Art Group
to promote closer links between artists and scientists world-wide.

Titles such as. Vectors Trapped ln Scalars or Announcing Binarlogues may turn the simple art lover a bit weak at the knees, but fortunately a maths degree is not an essential aid to proper pictorial enjoyment. The titles, like the compositions, are grandiose but essentially light-hearted and the pictures can be enjoyed on a number of different levels.

Through his “process” paintings. Shepherd takes images from the real world and breaks them down into constituent parts in strip cartoon-like sequences of carefully drawn mini-pictures.

A single composition may contain more than a 100 tiny ideograms which follow on from one another in long strips, twisting and turning across the picture plane. Random numbers and arrows weave about the strips to further promote a sense of orderly progression, but close inspection reveals that these works spring from a gleefully surreal Lewis Carroll world of “unlogic” rather than a dry exploration of scientific concepts.

Shepherd describes the creation of his bizarre hieroglyphic sequences as “a bit like pushing snowballs downhill.” Certainly you can sense his imagination gaining speed as the original starting images metamorphose into scores of startling permutations, ranging from fire breathing dragons to disembodied forests of arms, in their steady progression across the picture plane.

Many of these “process” paintings are laid out like board games, but only one, A Modern Odyssey, deliberately mimics that form. Based on Homer’s Odyssey but substituting the marvellous monsters of science for the original mythical beings encountered, the composition resembles a Monty Pythonesque cross between Scrabble and Snakes and Ladders.

Colour has become progressively more important in Shepherd’s work and some of the most recent compositions feature strips of hieroglyphs stacked in separate, brightly coloured layers which resemble glowing oriental carpet designs.

“Found” objects also play a part in stimulating the artist’s imagination. One painting in homage to Chagall evolved from a panel with an attached plank which has been sanded down and had mixed media worked into it to create an overall “aged” appearance similar to that of a mysterious ancient wall painting excavated from a lost world.

Beatrice Phillpotts


“Six Artists” (22 April-12 May)

In the case of GERALD SHEPHERD’s highly ingenious constructs, the subtle use of hundreds of tiny hieroglyphs is an ever-recurring and most distinctive feature. This is a very personal language feel. which the artist has perfected in the course of his career, and which can give his own unique meaning to any subject. For example, an analysis of two contrasting themes, Still Life - Improvisation and ‘Waterfall - Compton Acres (Meditation)” will reveal that they are both integrated with similar series of diminutive icons, yet their placing on the picture surface gives to each an entirely different character. When I last reviewed Gerald’s work (Newsletter June 1995)1 commented that “his vision is of an essentially well-ordered universe ... in which good old common-sense assumes a god-like stature”. I have not changed this view, but it is a gut feeling, and the language remains an enigma. There is a surreal quality about this work, full of strange juxtapositions, but suggesting a deeper truth. The “good order’ I referred to five years ago is there, but remains unseen, which is its fascination.

Philip Worth


GERALD SHEPHERD,
20 April - 10 May 1996

The day that GERALD SHEPHERD runs out of ideas will leave the FPS much the poorer. He conveys a restless almost mathematical energy, with all his works composed entirely of tiny diagrams - and I defy anyone to find that he has repeated himself. Particularly amusing is ‘The Biopsy’ in which a simple figure (presumably a surgeon?) is holding a panel on which is a mass of small designs, rather like pieces of machinery. If this represents the patient, I fear for the diagnosis! ‘Prelude and Postlude’ is an exercise in a masterly control of colour, with over 80 small triangles subtly graded so that they become more brilliant towards the right side of the painting, which is presumably the ‘Postlude’.

Freda Wadsworth


GERALD SHEPHERD. I could repeat much of the above in relationship to these paintings. But rather than pointing out Sutherland, etc., it would be the surrealist I take note of, Wadsworth, Hillier, etc. These paintings are calligraphic in nature and have to be read. I did respond to ‘Sequential Landscape’, and the manner and style of the work made me think it would be a study for a mural painting, not that anybody seems to want murals much now.

Brian Yale


GERALD SHEPHERD

22nd April - 10th May 1991

The many and varied exhibitions of paintings shown at the Loggia during the past years pay tribute to the broadness of vision exercised by the Free Painters and Sculptors in their acceptance of experimental works of art. In view of this, most visitors to the gallery expect to see work of a more controversial nature than the straight flower-piece or portrait.

The twenty-eight paintings and drawings presented by the artist GERALD SHEPHERD generously provided the means by which these expectations could be realized. The artist’s work had no direct link with past modes of thought, but it seemed in my view to fall somewhere between Indian or Oriental art and the hieroglyphics of the Egyptians. Painstakingly, and with great precision, most of the work was arranged in a kind of Board Game/Strip Cartoon style with numbers, arrows, animals and abstract designs pigeon-holed within various compartments. The detailed shapes within these compartments seemed to have more importance attached to them than to the picture as a whole, thus presenting a challenge to the intellect, and relegating aesthetic appreciation to a secondary position. This was, however, compensated slightly by the colour and general design of the compositions.

Gerald Shepherd’s statement to the effect that his paintings are near unsolvable mysteries even after being read, prompted me to resist further analysis and to allow my mind to wander through this maze of seemingly illogical symbols and wonder if, maybe, these were the manifestations of the unrelated thought forms that flow continuously through the human mind, woven into a colourful and attractive pattern. This was substantiated when I came upon the painting entitled ‘Three figures in a Lane’. ‘The Light of the World’ was also an interesting work. It had, I think, something of the Last Supper concealed within its orange, pink, red and yellow confines. This interpretation is probably way off course - in which case my apologies to the artist.

I greatly admired the paintings in the front hall which were, I thought, the most stimulating in the show. The absence of colour in these particular compositions was to their advantage. The exhibition on the whole was successful inasmuch as it was thought-provoking, often frustrating but always challenging and exciting - appealing probably to people with a leaning towards the sciences rather than to the pure aesthetic. I congratulate Gerald for his inventiveness and for pulling on a show that was different and, which aroused such vigorous discussion.

‘E. T.’
(Edward Taylor)


GERALD SHEPHERD’s contribution to this show is very much in his usual manner. the artist’s preoccupation with masses of tiny hieroglyphic figures is both fascinating and challenging. I have often heard him talk about his work when he has made it clear that, for him, painting is as much an intellectual as an emotional activity. I feel sure that his is a very personal language, and there may be elements in his creative processes which we cannot fully comprehend. But, for me, Gerald’s vision is of an essentially well-ordered universe, one where simple logic transcends, and where the identity of truth and beauty is manifest. I feel a curious sense of comfort and assurance when I look at the hieroglyphs, and this in no way abates when they are surrounded by a blue chaos, as in ‘Variations on an Amorphous Theme. His is a kind of Chestertonian cosmos, in which good old common sense assumes a god-like stature. The artist is essentially a communicator, and in ‘Script’ he is not afraid to use actual lettering, as did the early Cubists. In one piece -‘Improvisation at June’s - did I get a sense that the painter was at the receiving end. What is going on, here? Gerald could tell us, of course, but my impression was of a wild party which had been gate-crashed, but this had not discomposed the resourceful and charismatic hostess! There is a frenzy of colour in this picture, but also a sense that the cool, clear mind of the artist has imposed a meaningful pattern on it all.

Philip Worth


GERALD SHEPHERD

16th November - 4th December 1992

Finally I come to the paintings of Gerald Shepherd. Just a quick glance at the titles of these works gives something of a clue of what to expect. I choose three at random, “Salisbury Plainsong”, “Many Burials between Birth and Death”, “Sound Visualization with Echo over Narcissus”.

The paintings are graphic in style and execution, and personal in language. When one talks about paintings, or In this case writes about them, one seeks out comparisons in order to explain them. I hesitate to do so for these because I believe Gerald Shepherd is working out a language of his own. But just for starters let me point to hieroglyphics or ideograms, comic strips. Mathematical or biological diagrams and so on. This seems to be the area of play in his work. Sometimes they are restrained like “Saga”, which I liked, at other times frenetic and dense in textural references. The mixing of what I read as main and secondary signals with almost casual doodles in one sequential image was daring and effective.

Although I have to admit that I am not sure that what I read in the pictures was always what was intended, I assume that this is part of the nature of the work. In some ways the paintings have the appearance of a sheet of music, and, not unlike musical composition, present a theme and subject,
then proceed to develop it. Recapitulate it and finally resolve it.

I would myself have liked to have seen some works on a larger scale, maybe Gerald Shepherd has some, I do not know - but I feel there is a potential in his work which could be explored on a larger scale. I do in fact mean at a mural scale, but there you go. I am fantasizing again on someone else's behalf and maybe I should shut up and try and resolve my own problems. Anyway a very interesting show and I look forward to the next instalment.

Brian Yale


THE FREE PAINTERS & SCULPTORS 1952-1992 (BOOK)

Gerald Shepherd, an idiosyncratic artist concerned with the fusion of art and science which he called “Process Art”. His compositions contained a mass of ideograms which were contained within waves and stripes related to some referential image within the picture plane. His paintings were outside the scope of what is normally understood as painting. In an aesthetic sense they were beautiful, and most people could only see them in that way, for they required reading, and yet remained mysteries.

Roy Rasmussen

Gerald Shepherd, an idiosyncratic artist concerned with the fusion of art and science which he called “Process Art”. His compositions contained a mass of ideograms which were contained within waves and stripes related to some referential image within the picture plane. His paintings were outside the scope of what is normally understood as painting. In an aesthetic sense they were beautiful, and most people could only see them in that way, for they required reading, and yet remained mysteries.

Roy Rasmussen


GERALD SHEPHERD - FOREST ARTS

Tuesday 12th September - Friday 6th October

Shepherd has been working out a language of his own since the 1970s. He paints in a graphic manner infused with glowing bright colours, combining art, symbolism and science with hieroglyphics or ideograms, comic strips, mathematical and biological symbols. It is difficult to make comparisons between him and other artists except for the mimicking of other cultures and in particular indian and aboriginal communicative painting.

Steve Maclaurin


Gerald Shepherd Recent Paintings
Tuesday 22nd January - Saturday 23rd February

Gerald Shepherd returns to the Centre with a completely new set of paintings. He is a prodigious worker who paints daily. Much of the work he has produced in 2001 explores holistic landscapes that integrate observation with the analytical procedures he has been working on since the 1970s. The graphic style that he developed has now shifted somewhat from his early work to a more fluid and emotional response to his surroundings. He has been particularly inspired and attracted by gardens and places of interest in the South of England. These he lavishly infuses with bright colours and in a more subtle way than before incorporates his own language of symbols and signs. It is difficult to root his work within any particular genre or style.

Steve Maclaurin

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Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has uploaded a new piece of art

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Collect this art! Poem Written After The Death Of My Wife
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Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has added a new piece of art to collection " My favorite artworks "
19.5x49.5x2.5 cm ©2011 by Patou Deballon
mal cadré 8 : voiture - car - coche - Painting, 19.5x49.5x2.5 cm ©2011 by Patou Deballon - Illustration, Wood, Car, #art, #patoubox, #deballon, #badlyframed, #malcadré, #malencuadrado, #road, #route, #carretera

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70x90x1 cm ©2019 by József Fürst (HU)
Velvet fragrance / Parfum de velours - Painting, 70x90x1 cm ©2019 by József Fürst (HU) - Classicism, Photorealism, Realism, Pulpboard, Colors, Flower, Food & Drink, Interiors, Light, Love / Romance, Still life, jozsef furst, vamosiart, peter vamosi vamosiart, www.vamosiart.com, still life, fruit, apple, grape, vine, roses, still life with roses, romantic, harmonie, harmony

Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has added a new piece of art to collection " My favorite artworks "
©2019 by Serge Thiery
AYA - Digital Arts ©2019 by Serge Thiery - Environmental Art, Abstract Art, Conceptual Art, Concrete Art, Figurative Art, Abstract Expressionism, Fauvism, Modernism, Contemporary painting, Photorealism, Folk, Realism, Street Art (Urban Art), Surrealism, Symbolism, Trompe-l'œil, Other, Architecture, Abstract Art, Performing Arts, Cinema, Colors, Culture, Pop Culture / celebrity, World Culture, Business, Geometric, Men, Humor, Rural life, Places, Light, Home, Wall, Nature, Landscape, Cityscape, People, Spirituality, Time, Cities, Travel, aya, ciel, piéton, passage piéton, orange, bleu, grue, crane, sky, soleil, sun, panneau, blanc, white, noir, black, pieds, feet, chaussures, shoes, jean, blue, Metz, Moselle, chantier, ombres, shadows, vert, green, gris, grey, pavés, cobbles

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122x136 cm ©2019 by Dmitri Matkovsky
Golden Fleece, Abstract Harmony - Painting, 122x136 cm ©2019 by Dmitri Matkovsky - Abstract Art, Abstract Expressionism, Canvas, Abstract Art, abstract, original abstract, original painting

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79.5x59.5x2 cm ©2019 by polymorphe77
dans l absolu, et même plus, mais, ça dépend - Painting, 79.5x59.5x2 cm ©2019 by polymorphe77 - Abstract Art, Canvas, Abstract Art, Bombes aérosols, Posca, Toile, Graphique, Street art, 7, Chrome, Mouvement, Contemporain, Lumière, Unique

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20x60x1.8 cm © by astia v
7521 série " les gueules" - Painting, 20x60x1.8 cm ©2019 by astia v - Abstract Art, Canvas, Portraits, art, art abstrait, art naif, art moderne, acrylique, galerie, peinture, tableaux, non conformiste, espelette

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40x40x2 cm ©2015 by Adviye Bal
Untitled - Painting, 40x40x2 cm ©2015 by Adviye Bal - Contemporary painting, Figurative Art, Folk, Canvas, Landscape, Mountainscape, Nature, People, figurative, painting, figurative painting, acrylic, canvas, acrylic on canvas, concrete, woman, people, nature, landscape

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42x60 cm ©2019 by Véroniq'S
Sans titre - Painting, 42x60 cm ©2019 by Véroniq'S - Cityscape, Ville, nuit

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©2018 by Murielle Truchetet
Champagne pour un roi solitaire - Painting ©2018 by Murielle Truchetet - Outsider Art, Pulpboard, Love / Romance, foi, joie, abandon, destin, karma, krischna, féminité, lumière

Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has added a new piece of art to collection " My favorite artworks "
©2018 by Murielle Truchetet
J'ai été prise. Éprise...?! Dieu seul le sait ... - Painting ©2018 by Murielle Truchetet - Outsider Art, Canvas, Love / Romance, foi, passion, révélation, transfiguration, lumière, chair sacrée, corps à coeur

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©2018 by Murielle Truchetet
T'en pinces pour moi Chéri...?!?! - Painting ©2018 by Murielle Truchetet - Outsider Art, Canvas, Women, violence, perversion, abus, stratégie, cruauté, résilience, tendresse, liberté, abandon, enfer, abysses, amour

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©2019 by Serge Thiery
Platane - Photography ©2019 by Serge Thiery - Outsider Art, Environmental Art, Conceptual Art, Concrete Art, Figurative Art, Land Art, Minimalism, Modernism, Photorealism, Folk, Realism, Surrealism, Symbolism, Other, Tree, Architecture, Performing Arts, Aerial, Outer Space, Colors, Culture, Pop Culture / celebrity, World Culture, Rural life, Light, Nature, Landscape, Seasons, Spirituality, platane, plane tree, ciel, sky, bleu, blue, branches, contrail, gris, grey, noir, black, blanc, white, nuages, clouds

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©2019 by Serge Thiery
Châtons - Photography ©2019 by Serge Thiery - Environmental Art, Abstract Art, Conceptual Art, Concrete Art, Figurative Art, Abstract Expressionism, Land Art, Photorealism, Folk, Realism, Surrealism, Symbolism, Trompe-l'œil, Other, Tree, Abstract Art, Botanic, Body, Outer Space, Colors, Culture, Pop Culture / celebrity, World Culture, Garden, Rural life, Light, Nature, Landscape, Seasons, Science, Spirituality, châtons, noisetier, hazel, ciel, sky, bleu, blue, blanc, white, noir, black, horizon, quatre, four

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©2018 by Serge Thiery
Geometric Cosmos - Digital Arts ©2018 by Serge Thiery - Abstract Art, Art Deco, Cubism, Abstract Expressionism, Fauvism, Modernism, Contemporary painting, Folk, Surrealism, Symbolism, Other, Abstract Art, Outer Space, Colors, Culture, Pop Culture / celebrity, World Culture, Dark-Fantasy, Fantasy, Geometric, Light, Nature, Science, Science-fiction, Spirituality, Travel, cosmos, geometric, géométrique, violet, purple, jaune, yellow, orange, noir, black, carré, square, rectangle, étoiles, stars, univers, ciel, sky, mystére, céleste, nuit, night, espace, space, au-delà, beyond, rêve, dream

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©2018 by Serge Thiery
Errance - Digital Arts ©2018 by Serge Thiery - Environmental Art, Abstract Art, Conceptual Art, Concrete Art, Figurative Art, Naive Art, Abstract Expressionism, Contemporary painting, Folk, Surrealism, Symbolism, Other, Tree, Performing Arts, Colors, Culture, Pop Culture / celebrity, World Culture, Rural life, Light, Nature, Landscape, Seasons, Spirituality, Time, Travel, errance, wandering, ombre, shadow, route, road, chemin, way, gris, grey, blanc, white, noir, black, vert, green, bleu, blue, œil, eye, yeux, panneau, sign, nuages, clouds, plante, plant, triangle, jaune, yellow, croisement, crossing, partir, go, aventure, adventure, hasard, hazard, rouge, red

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Sunset Flowers - Digital Arts ©2019 by Gerald Shepherd F.F.P.S. - Modernism, Landscape, landscape, sky, sunset, abstract, pattern

Merci beaucoup Serge


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© by Gerald Shepherd F.F.P.S.
Sunset Flowers - Digital Arts ©2019 by Gerald Shepherd F.F.P.S. - Modernism, Landscape, landscape, sky, sunset, abstract, pattern

Bonne idée et belle réalisation.......


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© by Bella Bourgeois
Bella Bourgeois Jewelry Design - Photography ©2019 by Bella Bourgeois -

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50x50x4 cm ©2019 by Richard BENISTI
Contrastes - Digital Arts, 50x50x4 cm ©2019 by Richard BENISTI - Abstract Art, Cotton

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© by Alejandro Penate-Diaz
Red flowers - Digital Arts ©2019 by Alejandro Penate-Diaz - Abstract Art

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81x65 cm ©2108 by sandrine condemine
Edysse - Painting, 81x65 cm ©2108 by sandrine condemine -

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©2019 by Brigitte Anna Henny
SWING - Design ©2019 by Brigitte Anna Henny -

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Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
A Young Girl Meets Her Portrait - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Canvas, Portraits, facial features, variations

Thank you so much for saying so Alain.


Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
Garden Arrangement 2 - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Pulpboard, Landscape, landscape, modern art, garden

Thank you very much Alain!


Alain Grisel Portrait Alain Grisel Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
A Young Girl Meets Her Portrait - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Canvas, Portraits, facial features, variations

C'est vraiment une collection au top .


Alain Grisel Portrait Alain Grisel Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
Garden Arrangement 2 - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Pulpboard, Landscape, landscape, modern art, garden

Le graphisme est excellent et les couleurs ne sont pas en reste .


Alain Grisel Portrait Alain Grisel Follow has posted a new comment

Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
A God Creating The World - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Pulpboard, Religion

Thank you Audrey! I appreciate it.


Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
The Red Barn - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Pulpboard, Landscape

Thank you very much Audrey!


audrey segura Portrait audrey segura Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
A God Creating The World - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Pulpboard, Religion

belle oeuvre


audrey segura Portrait audrey segura Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
The Red Barn - Painting ©2018 by Gerald Shepherd F.F.P.S. - Modernism, Pulpboard, Landscape

belle oeuvre


Gerald Shepherd F.F.P.S. Portrait Gerald Shepherd F.F.P.S. Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
An Improbable Atlas - Painting ©2018 by Gerald Shepherd F.F.P.S. - Surrealism

Thank you very much!


N.A. Dietzen Portrait N.A. Dietzen Follow has posted a new comment
© by Gerald Shepherd F.F.P.S.
An Improbable Atlas - Painting ©2018 by Gerald Shepherd F.F.P.S. - Surrealism

Fantastische Visionen werden zur Grandiosen Kunst Kompliment Manfred!