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artist index
1974 Lamaze birth in Roaring Spring Pennsylvania to
Elizabeth Sutton
1977 Began creating renditions of the world with pencil
1988 Began painting in acrylic
1990 First exposure to oil paint and the pallet knife
1992 Produced 20 Dogma videos
1994 Graduated from the Pennsylvania Institute of Culinary Arts
1994-6 Painted in Key West and Chef at "Louie's back Yard"
1996-9 Painted in Albuquerque and Production Manager of Great Harvest
1998 Produced Sourdough Demo Video
Highlights
2000 Showed at Forbidden art, Magazine street, New Orleans, LA
2001 Performed at DADA "whirling dervish" Rue Decatur, New Orleans, LA
2001-3 Represented by Riverstone Gallery, Rue Royale, New Orleans, LA
2003 Represented by Galerie Royale Magazine Street, New Orleans, LA
2004 Featured at "New Heights" physical therapy
benefit, Covington, LA
2004 Exhibited in "art for fu%ks sake" Frenchman Street, New Orleans, LA
2004 One man show "Hypercubism" Galerie Royale, New Orleans, LA
2005 Showed at Charles-Baltivik, Commercial St, Provincetown MA
2005 Guest artist at "Stepping Stone" Autistic Center, Greensburg, PA
2005 Edited video diary of Hurricane Katrina aftermath, New Orleans
2005 One man show "The Brush of New Orleans" Galerie Royale, LA
2006 One man show "4 of me" Galerie Royale, New Orleans, LA
2006 Art for arts sake "Wild flowers" Galerie Royale, New Orleans, LA
Artist statement
Words about pictures
There is an inherent understanding in us regarding two dimensional art.
Unlike most animals, we have the ability to perceive three dimensions on the
flat stagnant surface. The illusion from the lines of the ambiguous
transparent cube switching its face from front to back by the power of
mind, fascinate all children who come to understand the phenomenon. For the
young pure artist there is an irresistible desire to create these illusions
if materials materialize. A growing child will begin to make judgments about
there marks. This is when pure art moves into academia. During our
development there is an expanding mental image of the world from ones
senses. We can not help but experience the human form. I believe this is why
the human form, the face in particular, is one of the most popular subjects.
People will even find figures where there are none. When one discovers a
figure in an abstract expressionistic piece, I'm amazed. That's the magic of
art and the art of perception.
The academic artist; understands how to create perspective, uses forms,
patterns and lines to create "motion", utilizes the power of contrast and
ratio, balances color, is conscious of texture and moves the mark making
devise gloriously over the substrate.
What makes a correct composition? It is a completely subjective story.
Visual artists must have an understanding of "seeing" and the energetic
world from which we communicate..... if art so desire we brake all of them.
A good composition can even draw your eyes away with its content but, if
your eyes move back, even in an insignificant amount, it is a successful
composition for you. Like it or not.
Painting is madness. The logical and emotional sides of the brain go to
war, each competing for dominance. Logic says, "black and yellow make a
green, green and red make a neutral, red and yellow make an orange, warm
orange and black make a dark neutral." Emotion says, "feel like this? Cyan
and Kool Violet make me!"
Art is the product of creating something greater than the sum of its
parts. It can say everything and it can say nothing. Whether it's good art
or bad art is completely up to oneself. god doesn't care, she's just glad it
exists.
As a plein air painter
I pay my respect to two sides of a divine coin, emitted light and
reflected light. The emitted light is the source that enables me to see my
subject and my evolving canvas. This can be man made light such as the
monochromatic yellow sodium street lights or the sun at noon pumping out its
full spectrum juice. When light hits a subject it creates reflected light
that consists of three forms, all light reflected back (white), no light
reflected back (black) or light gets chopped up (color). Things get
interesting when its a combination of all three, which enables an infinite
range of experiences within the limits of one thing. I search for visual
experiences that I subjectively deem as beautiful. My goal is to reproduce
the feeling I get from reality and relate it to the viewer. I eliminate
anything that causes my eye irritation. This is not to say that I only paint
"pretty" things. Sometimes telephone wires and trash cans are the best part
of a composition. The result is a work of art that is more enjoyable than
the reality from which it grew. I paint entirely with the pallet knife
emphasizing texture which reinforces the fact that the painting is an entity
in itself, not what it represents. After all is said and done the works are
merely supersaturated pigment solutions smeared over a sexy substrate.
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