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Welcome to
Kerry's Gallery
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/GeriAshmore-1987-1.jpg)
Like most children, I started painting at an early age. Unlike most children, however, I never grew out of my passion and love for painting and drawing.
Though I have not worked professionally as an artist, my art has never ceased to sustain and nourish me throughout my life. It keeps me grounded and centered. My art provides a place where I can retreat and hide when the going gets tough. A safe refuge. My art is always there for me. When I am painting, time and space cease to exist for me.
I have opened this thread to act as an on-line gallery of some of the paintings I have scanned, and also as a place where I can showcase my new paintings as they are painted. In time, I will be auctioning some of my future paintings on e-Bay.
I have started with the above portrait of my friend, Geri. It is painted in the abstract style I was experimenting with at the time. It is influenced by stained glass window design and by the painting style of Amedeo Modigliani. It is executed in French Conte pastels on stretched canvas with highlights in oil paint. It is 90cm x 60cm (3ft x 2ft) in size.
I hope you will enjoy my gallery. You are very welcome to visit at any time, to see more of my paintings as they are posted.
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A couple of years ago I became obsessed with the idea of winning the Archibald Prize, Australia’s preeminent portraiture competition.
The Archibald is conducted annually by the Art Gallery of New South Wales in Sydney, under the terms of the bequest of the late J.F.Archibald.
It is open to all entries, from anyone who cares to take the time to submit a painting. Thousands of entries are submitted each year. Of those thousands, a selection panel chooses a tiny fraction for hanging. Usually less than 50 paintings make it. Click the following link to see this year’s Chosen Ones. The 2009 exhibition is presently on show:
http://www.thearchibaldprize.com.au/finalists/archibald
The terms of the Archibald bequest stipulate that the portrait must be of an Australian who has distinguished him/herself in public life. For that reason, it is invariably always filled to overflowing with portraits of actors, socialites, writers, artists, professors, academics and members of the judiciary. Last year, Vincent Fantauzzo’s beautiful portrait of Heath Ledger was voted People’s Choice winner.
Like most amateur artists, my dilemma was that I do not mix in such illustrious circles that would bring me into contact with potential subject matter for a celebrity portrait. I painted the portrait of my boss, a professor, but decided against submitting it. The painting was relatively small and intimate by Archibald standards at just 60cm x 60cm (2ft x 2ft), so I set out on a quest to find a more suitable subject to paint.
I needed to submit a larger-than-life, razzle-dazzle, celebrity entry that would grab the judges’ attention. The person I chose to paint was Fabian Loschiavo, the Mother Inferior of the Sydney Chapter of the Sisters of Perpetual Indulgence.
Here are three preliminary studies of Fabian, taken from life; left profile, full face and three-quarter face. They are rendered in Indian ink and charcoal on cartridge paper. I found Fabian to be a delightful subject and not nearly as scary as I was expecting him to be.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Fabian1.jpg)
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Fabian2.jpg)
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Fabian3.jpg)
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The finished portrait of Fabian, formally titled “Mother M. Fabian Losciavo, SPI,” was painted in oils on canvas and is the largest painting I had undertaken up to that date, at 210cm x 120cm (7ft x 4ft).
The Archibald Committee, in their wisdom, decided against hanging it. Though I was initially very disappointed by their decision, there was much that I ultimately learned from the experience. For one thing, I discovered that I was capable of painting really, really, BIG canvases. And for another, I was no longer intimidated by the Archibald. Better luck next time, I thought!
Here’s the finished portrait. Fabian is depicted in the habit of the Sisters of Perpetual Indulgence, with lilac scapular and emerald stole. He is swinging a standard Catholic thurible, as used on the altar. Instead of incense smoke coming from the thurible, however, it is emitting a generous sprinkling of sparkling fairy dust. At Fabian’s feet is a second portrait of him in the form of a black and white photograph, minus the habit.
It may be necessary to scroll over ----> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Fabian4.jpg)
Mother M. Fabian Losciavo, SPI
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Fabian5.jpg)
Detail from Mother M. Fabian Losciavo, SPI
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I can see why the Archibald hesitated over it, remember Madonna? The Catholic church is a tad touchy about its things...
having said that it is startling and interesting. There is a lot to take in, and I wanted to keep looking...it draws me back to it. I could see this hanging in a gallery and having to return to it again and again. It is compelling. I expect it has even more of an impact in person but I like that it is in a more accessible venue here, Hung on a wall the face in particular would not be as intimate and easy for me to 'see'...
at first glance I thought "hmmm...yes, I see this is the same person that is in the studies but I like the studies better" but looking at the detail, it is all in his eyes....and you captured that same personality in both the studies and the final painting.
love the colors and the impact of the overall painting. I understand the reason behind the black and white picture but feel that the painting could have done without it. (but that is just my take on it....the name of the painting..."Mother?? FABIAN?? but that is a boy's name! and that is a habit...." would have really stopped me and made me look again and again...A more visereal feeling )
and I am not sure visereal is the right word...but it would have been more mysterious, more 'wake up and pay attention'...
all in all I LIKE very much.
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Thank you kindly for your insightful feedback, Jess. :)
Before entering Fabian's portrait in the Archibald, it was entered in the Gay & Lesbian Mardi Gras art exhibition, "Out Art," that same year. It was received well there. Opening night was very grand with lots of sponsor's champagne flowing. At the height of the festivities, Fabian himself made a very dramatic, impeccably choreographed entrance, in full regalia. After graciously receiving the plaudits of the assembled masses, he structured himself alongside his portrait for the remainder of the evening, from whence he held court. It was a wonderful evening.
More posts to come. I look forward to reading your future comments. :D
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Fabian8.jpg)
Cross-section detail from "Mother M. Fabian Losciavo, SPI"
featuring the thurible, rosary, hand, fabric and fairy dust
(it may be necessary to scroll over --> to see the entire image)
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a small detail but the BEADS are rendered so beautifully...this painting is full of interesting little details. How long did it take you to paint it, Kerry?
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Kerry, your paintings are absolutely amazing! I had problems getting them to load up earlier. I only saw those little annoying red X's. I'm glad I tried it loading them again tonight. I had no idea you were so talented. I've seen your cartoons and I always thought they were very good, but these paintings are gorgeous! I love your use of colors. They are so textured, rich and interesting.
Thanks for posting them and I'm looking forward to seeing more of them hopefully! :D
We have so much talent here at Bettermost. Talent of all different kinds and I'm always happy when I discover yet another talented member here. :)
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a small detail but the BEADS are rendered so beautifully...this painting is full of interesting little details. How long did it take you to paint it, Kerry?
It probably took several months in all, Jess. A painting of such a large size is quite a commitment. Firstly, the canvas had to be sized, cut from the roll, and stretched over the wooden stretchers. After that, the canvas is primed (I like to apply at least 3 coats of primer), which gives it that tight, drum-like quality. After that comes the undercoat, base colour. It took me some time to locate Fabian. I had to make an appointment to see him and put my proposal to him. He was keen to have his portrait painted. He sat for me several times. I drew lots of preliminary drawings, not just of his face but also the habit, hands, thurible, etc. Lots of photos were also taken. After that, I pretty much work from the preliminary drawings and photographs to reach the end result. Fabian only had to sit a couple of times during the paint application stage. His presence was only needed when I was painting the actual face itself. He didn't need to be there while I was painting the background and habit, etc.
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Kerry, your paintings are absolutely amazing! I had problems getting them to load up earlier. I only saw those little annoying red X's. I'm glad I tried it loading them again tonight. I had no idea you were so talented. I've seen your cartoons and I always thought they were very good, but these paintings are gorgeous! I love your use of colors. They are so textured, rich and interesting.
Thanks for posting them and I'm looking forward to seeing more of them hopefully! :D
We have so much talent here at Bettermost. Talent of all different kinds and I'm always happy when I discover yet another talented member here. :)
Thank you for your kind comments, David. Keep visiting. More paintings to be hung in the gallery shortly! :D
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Thank you for your kind comments, David. Keep visiting. More paintings to be hung in the gallery shortly! :D
Well get to hanging then Kerry! :-*
We'll be waiting!
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Though portraiture is my first artistic love, I am also enormously fond of abstraction. I love the paintings of Mondrian, Kandinsky and Rothko.
Some years ago, I started painting small 10in x 8in (25cm x 20cm) abstract paintings for my own pleasure and entertainment. They are quite therapeutic to paint because of their small size (the larger canvases are just plain hard work) and I find the finished result conveys a certain contemplative, serene tranquility to any room where they are hung.
Here’s one such painting, in oils on canvas, which I have titled, “Isis in the Midnight Brightly.”
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/IsisintheMidnightBrightly-2001.jpg)
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Kerry, I'm somehow just seeing this thread.
Beautiful! I'm not an artist so can't give much more input other than I like them very much!
And interesting to learn about the Sisters of Perpetual Indulgence. I had to google them.
I look forward to more!
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I'm so pleased you like them, Kelda. More to come! :D
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Hey Kerry, thanks for sharing your paintings with us. I like especially the two abstract ones. No surprise there, I like abstract paintings in general. And I also like Kandinsky very much :D.
I also liked the idea of including a photo of Fabian into the painting. But I have to admit that the guy looks intimidating.
Looking forward to see more of your art.
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Thanks for sharing your work with us, Kerry. I've enjoyed looking at all the images.
I hope that one day one of your paintings will be picked to win the Archibald prize. I can understand your dilemma in regards to not moving in illustrious circles, so I was wondering if it was necessary -- for the rules and/or for you -- to paint from studies of individuals who have actual sat for you? Could you use photos and film clips?
I'm not a painter, but if I were, I might like to paint Heath as Ennis, perhaps as I would imagine him in a scene that wasn't in the film.
Thanks for your kind words, Gary. However, I think I may steer clear of the Archibald for the foreseeable future. Once burned!
Under the terms of the Archibald bequest, all submitted works must be painted from life. That means the subject must sit for the portrait. It is allowable for photos to be taken and used as points of reference, but all artists must make a physical connection with their subject. The portrait cannot be painted from photos alone.
Many emerging/unknown artists get around this by submitting self-portraits. The rationale being that though they have not distinguished themselves prior to entry, the very fact that they have been hung in the Archibald makes them a distinguished public figure. It's a loophole.
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Hey Kerry, thanks for sharing your paintings with us. I like especially the two abstract ones. No surprise there, I like abstract paintings in general. And I also like Kandinsky very much :D.
I also liked the idea of including a photo of Fabian into the painting. But I have to admit that the guy looks intimidating.
Looking forward to see more of your art.
I absolutely adore Kandinsky, Chrissi. His paintings are so breathtakingly beautiful IMHO. :D
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This is a portrait of my most dear friend and soul mate, George. It is a traditional studio portrait in oils on canvas, 60cm x 50cm (24in x 20in) - slightly under life size. George is depicted in what was his favourite shirt at that time, which came to lend its name to the portrait - “Velvet George” (even though the shirt was cotton, not velvet). I painted a great deal of love into this portrait, from the slightly guarded, withheld smile that is so unmistakably George, to the unwavering stare of those beautiful blue/grey eyes; eternally and forever now, looking out from the canvas. As you move around in front of the portrait, you will see that George’s eyes follow you. Try it. Spooky, no? You think George is looking at you, right? Wrong! He’s looking at me, the painter. And I don’t mind telling you that he was just a tiny tad impatient with my slow progress. So cute. Twenty-nine years later, he’s just as cute, and he still gets cross with me when I dawdle. I can’t imagine what my life would be like without my beautiful George in it.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/GJC.jpg)
Velvet George
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/GJC2.jpg)
Detail from Velvet George
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I have seen the painting of George before. I love it! :D
I also love the abstract up there - “Isis in the Midnight Brightly.” It's beautiful and I love the colors in it.
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You and George have something in common, David. A Dutch connection. :)
In George's case, he was born in Kenya and raised in Tanzania. Both his parents are of Dutch ancestry. The family came to Australia when George was 12 and settled in Perth, Western Australia - Heath Ledger's home town.
I'm so glad you're enjoying my paintings, David. More to come. :D
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great pic of george...
tell him to stop following me the next time you see him! ;)
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great pic of george...
tell him to stop following me the next time you see him! ;)
Haha - I'll tell George to mind his manners, Kelda! ;) :laugh:
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I'm sure you'd like George, Gary. He's very likable. And he's charming too. He could charm the birds out of the trees (when he's not being grumpy lol). Even though he came to Australia when he was just 12, he has quizzically managed to retain much of his lovely East African accent. I love his accent. It's very proper. Melodic. Etonian. Charming. Not at all like the more coarse South African accent. I'm so glad you like George's portrait, Gary. Saying what you did means a great deal to me, as an artist. Capturing someone's physical features is the easy part. The challenging part of portraiture is capturing the subject's personality - or soul. That's what I try to achieve whenever I paint a portrait. And for me it all comes down to the eyes. I believe in that old cliche that says the eyes are the windows of the soul. :)
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And for me it all comes down to the eyes. I believe in that old cliche that says the eyes are the windows of the soul. :)
Yes, indeed, Kerry. "Velvet George" is so striking because of the directness of those eyes--looking right at the viewer.
I think that's why I liked study #3 for Fabian so much: the close-up, the direct, slightly sly look in his eyes. The close-up of his face surrounded by just the wimple, without the full regalia, is a great juxtaposition, and makes one linger on it and wonder just what's going on. Bravo, Kerry.
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You are quite right about that, Paul. There is something decidedly sly about Fabian. Though he was perfectly civil throughout the portrait painting process, I always felt there was some other agenda at play there. A case of "What you see is not necessarily what you get." I just put it down to the fact that he was a bloke in a nun's habit, something with which I was a little ill at ease, but I suspect there was more to it than that. He is indisputably a rampant extrovert and attention seeker. I'm sure Fabian himself would agree with that. His eccentric grandstanding has certainly brought him much fame (infamy?) here in Oz. Another feeling I got at the time was that Fabian wasn't actually comfortable in a nun's habit. I felt that he needed to maintain his celebrity status (the only way he knew how to do that was through the Sisters of Perpetual Indulgence), whilst secretly craving fame in his own right, minus the habit. Fabian comes from a traditional Italian Catholic family. Unlike many of the Sisters, he was genuinely religious, albeit in his own inimitably unique and imaginative way. Shortly after I painted his portrait, he renounced the Catholic Church and converted to Protestantism, foregoing his habit forever. With this act, he instantly lost his celebrity status in the community and flung himself into the Stygian Pit of anonymity, from whence he has never returned. Maybe that was on his mind when I painted his portrait back in the mid-90s. I'll never know.
Thank you for your kind words, Paul. Please drop into the gallery again, when next you're passing this way. :D
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I enjoy painting abstracts. Abstracts are FUN to paint. You get to throw paint at the canvas and slosh it about. Yee-Haw!
By contrast, portraits are all hard work and concentration. Though I love portraiture, it is always good to take a break from its strict discipline and have some fun with an abstract. I have experimented with many different abstract styles over the years. So much so that the abstracts I have hanging throughout my apartment appear to be painted by different artists. Most of them are, in fact, painted by me, utilizing different styles.
I have a background in calligraphy. For some years, I ran my own calligraphy business. Nothing big time. It was only ever an adjunct to my full-time job. I used to inscribe graduates' names on their nursing certificates when they finished their training and became RNs, in the days when nurse training was hospital based. I was interested in calligraphy long before then, however; since childhood, in fact. For that reason, calligraphic forms often emerge in my abstracts. Such as in this painting, for example, titled “Blood in the Water.” It is painted in oils on canvas and is 90cm x 60cm (3ft x 2ft).
It may be necessary to scroll over --> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/bloodinthewater66.jpg)
Blood in the Water
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Kerry, you are incredibly talented. You are Picassoesque in the variety of styles. Thank you so much for sharing these with us. I look forward to more.
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ooh pretty - get that ebay shop open my lovely!
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Hiya Clarissa & Kelda. More paintings will be hung shortly. A portrait next. :D
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Hi Kerry,
I have only recently discovered this thread. Although I am no artist I enjoy looking at paintings. I definitely like yours, especially the one of George and the one with the Modigliani influence. Yes, please, keep more coming. You are an artist in so many ways, very talented.
Have you ever been inspired by BbM in any your paintings?
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Have you ever been inspired by BbM in any your paintings?
Oh, that's a good question. I'd be also interested, if you want to share, Kerry.
And yes, keep them coming :).
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I agree, that is an excellent question. Have you done any portraits of Jack and Ennis, Kerry? Or perhaps some of the mountain scenes from the movie? :D
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Though portraiture is my first artistic love, I am also enormously fond of abstraction. I love the paintings of Mondrian, Kandinsky and Rothko.
Some years ago, I started painting small 10in x 8in (25cm x 20cm) abstract paintings for my own pleasure and entertainment. They are quite therapeutic to paint because of their small size (the larger canvases are just plain hard work) and I find the finished result conveys a certain contemplative, serene tranquility to any room where they are hung.
Here’s one such painting, in oils on canvas, which I have titled, “Isis in the Midnight Brightly.”
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/IsisintheMidnightBrightly-2001.jpg)
I like this best of the abstracts you have posted so far. I like the colors and the way it makes me 'feel'. I like the black spaces with the white dots (stars) that break up and contrast the bright colors of the rest of the painting.
I LIKE the shading and how there is no one source of light but instead the light seems to come from any or all directions...
very nice!
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this one makes me curious...and I think if I saw it in a gallery I would come back to it again....why "Blood in the Water"? I see the red...so uniform and neat...not at all like blood would be in water...so I would think on it and try to feel it more...
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/bloodinthewater66.jpg)
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and I like the bold black lines!
I like your use of black period. I think some artists shy away from using it. but especially in abstracts it really makes the other colors pop..
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Hi Kerry,
I have only recently discovered this thread. Although I am no artist I enjoy looking at paintings. I definitely like yours, especially the one of George and the one with the Modigliani influence. Yes, please, keep more coming. You are an artist in so many ways, very talented.
Have you ever been inspired by BbM in any your paintings?
Years ago I drew a couple of tasteful homoerotic nude studies, but nothing specifically inspired by J&E. It's certainly a good idea for future projects. :D
My existing nude studies are mild versions of drawings by iconic, homoerotic gay artists, Tom of Finland and Colt. Only difference is, I took the sex out and put the romance in. ::) They're both framed and at the back of a wardrobe somewhere. I remember, when I took one of them to be framed years ago, the framer refused to frame it. He suggested I try another framer nearby. Gave the excuse that he had a lot of work on and didn't have time to frame my nude. So I took his advice and tried the nearby framer, who turned out to be a cute little Greek guy. We developed a real rapport and I stayed with him for all my framing requirements from then on. Foolish of the other bloke, because I'd given him a lot of business up until that time. :(
A gal-pal at the time liked one of my homoerotic studies so much, she asked if she could hang it in her home. I was happy to agree because she lived in a beautifully stylish, posh, city apartment, and it looked good there. I wondered why she would want it hanging in her home, until she confessed that she had been working from home as a high-class call-girl. She was, indeed, a very high-class kinda gal, and her apartment was magnificent.
Years later, I was catalogueing my work for a grant I was applying for, and borrowed it back to have photographed. I never got around to returning it to her, and she didn't ask for it. By then, she was no longer working in the same industry and we have since lost track of each other. She was a lovely person, originally from England and very gay-friendly. Wonder where she is now. She had a beautiful daughter.
But I digress. Let me know if you'd like to see my homoerotic drawings. The photos taken for the grant were hardcopy only and have long since gone to god. I would need to take new digital photos. I also have some female nude studies somewhere, drawn from the live model in life class.
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and I like the bold black lines!
I like your use of black period. I think some artists shy away from using it. but especially in abstracts it really makes the other colors pop..
I agree, Jess. That goes for white too. Because black and white are technically not colours (they do not exist in the spectrum), some snooty artists believe they have no place in art. I have always utilised black in my work. White, not so much so.
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But I digress. Let me know if you'd like to see my homoerotic drawings. The photos taken for the grant were hardcopy only and have long since gone to god. I would need to take new digital photos. I also have some female nude studies somewhere, drawn from the live model in life class.
I just remembered that I do have a digital photo of one of the homoerotic nude studies, but it's not good quality. Very distant. A photo of a drawing hanging on a wall, rather than of the drawing itself. You can't see the detail. I'll dig out the originals and take new scans. :D
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You don't have to ask, Kerry. We'd love to see your work, homoerotic or otherwise!
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Years ago I drew a couple of tasteful homoerotic nude studies, but nothing specifically inspired by J&E. It's certainly a good idea for future projects. :D
My existing nude studies are mild versions of drawings by iconic, homoerotic gay artists, Tom of Finland and Colt. Only difference is, I took the sex out and put the romance in. ::) They're both framed and at the back of a wardrobe somewhere. I remember, when I took one of them to be framed years ago, the framer refused to frame it. He suggested I try another framer nearby. Gave the excuse that he had a lot of work on and didn't have time to frame my nude. So I took his advice and tried the nearby framer, who turned out to be a cute little Greek guy. We developed a real rapport and I stayed with him for all my framing requirements from then on. Foolish of the other bloke, because I'd given him a lot of business up until that time. :(
A gal-pal at the time liked one of my homoerotic studies so much, she asked if she could hang it in her home. I was happy to agree because she lived in a beautifully stylish, posh, city apartment, and it looked good there. I wondered why she would want it hanging in her home, until she confessed that she had been working from home as a high-class call-girl. She was, indeed, a very high-class kinda gal, and her apartment was magnificent.
Years later, I was catalogueing my work for a grant I was applying for, and borrowed it back to have photographed. I never got around to returning it to her, and she didn't ask for it. By then, she was no longer working in the same industry and we have since lost track of each other. She was a lovely person, originally from England and very gay-friendly. Wonder where she is now. She had a beautiful daughter.
But I digress. Let me know if you'd like to see my homoerotic drawings. The photos taken for the grant were hardcopy only and have long since gone to god. I would need to take new digital photos. I also have some female nude studies somewhere, drawn from the live model in life class.
oh PLEASE...you KNOW we wanna see!!
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this one makes me curious...and I think if I saw it in a gallery I would come back to it again....why "Blood in the Water"? I see the red...so uniform and neat...not at all like blood would be in water...so I would think on it and try to feel it more...
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/bloodinthewater66.jpg)
I love abstraction because different people see different things in the painting. I like to encourage this and for that reason, I prefer not to give my own personal meaning to a painting. A friend once told me that when she looked at "Blood in the Water," she imagined she was in a plane flying over Sydney Harbour at night, with all its little bays and inlets, looking down at the lit-up city from high above. Another friend who didn't like it said, "Humph, blood in the water, that looks about right!" She explained her comment to me by saying that she thought it looked like what she regularly saw when she looked in the toilet bowl. Told ya, it's all open to your own interpretation! ;)
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I love abstraction because different people see different things in the painting. I like to encourage this and for that reason, I prefer not to give my own personal meaning to a painting. A friend once told me that when she looked at "Blood in the Water," she imagined she was in a plane flying over Sydney Harbour at night, with all its little bays and inlets, looking down at the lit-up city from high above. Another friend who didn't like it said, "Humph, blood in the water, that looks about right!" She explained her comment to me by saying that she thought it looked like what she regularly saw when she looked in the toilet bowl. Told ya, it's all open to your own interpretation! ;)
Isn't that why some artists prefer not to "name" their work? So as not to influence the viewer.
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Isn't that why some artists prefer not to "name" their work? So as not to influence the viewer.
I hate when artists don't name stuff! I need a starting point...
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I hate when artists don't name stuff! I need a starting point...
I know: "Untitled #231" doesn't do much for me!
"Blood in the Water" is so much more evocative.
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Isn't that why some artists prefer not to "name" their work? So as not to influence the viewer.
Exactly right, Paul. Alas, I'm not courageous enough to do that. I recently finished an extremely elementary, Mondrian inspired abstract and was tempted to call it something like "Composition 9A," but I chickened-out and called it "Seaside Folly" instead! ::) :laugh:
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I know: "Untitled #231" doesn't do much for me!
"Blood in the Water" is so much more evocative.
to me, not naming it makes me think the artist didnt' really put any thought into it. Like he just threw some paint together and didn't care...
I remember once going to an exhibit and seeing this HUGE square hanging on the wall, done in red. One shade of red...no texture nothing..and what was it named? "Red"
::) ::)
at the same exhibit there was a room size piece....thousands of clay figurines in shades of beiges and oranges with crude mouths and eyes...I sat and stared for a long time...it was like beings rising from the earth...filled me with a strange longing, anticipation...I LIKED how it 'felt'..
on the other hand I was walking down a corridor there and there was a painting on the wall that SCARED me...I dont' know what it was about it..but I literally was scared, I didn't want to look at it, I didn't even want to be on the same aisle as it.
that to me is what abstract art should be about...feelings...
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Exactly right, Paul. Alas, I'm not courageous enough to do that. I recently finished an extremely elementary, Mondrian inspired abstract and was tempted to call it something like "Composition 9A," but I chickened-out and called it "Seaside Folly" instead! ::) :laugh:
Sure enough. I share your interest in Mondrian. In fact, I saw a marvelous retrospective of his work some years ago, and if I remember correctly, he actually titled his works with "real" names--"Broadway Boogie-Woogie" comes to mind. The viewer feels the rhythm of the city, for example.
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I found it! "Broadway Boogie-Woogie" is more interesting than "Study in Primary Colors 17".
(http://www.megadeal.ca/Art/Mondrian-Broadway-boogie-woogie.jpg)
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I know: "Untitled #231" doesn't do much for me!
"Blood in the Water" is so much more evocative.
You'd probably be very disappointed if I told you what "Blood in the Water" is really about. Sometimes, when utilising the technique used in BITW, I randomly apply the paint to the canvas in anticipation of a spontaneously serendipitous result. It's not possible to do that with such abstracts as "Isis in the Midnight Brightly," which requires as many preliminary sketches and careful execution as is needed for the detailed completion of a portrait. To be perfectly honest with you (and I'm going to break my own rule here), I painted BITW years ago after grisly reports emerged in the media about someone being eaten by a crocodile in far northern Australia. As simple and mundane as that. It is sometimes better to allow your own imagination and the romance of the paint to do the interpreting, without allowing cold hard banal reality to get in the way.
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I found it! "Broadway Boogie-Woogie" is more interesting than "Study in Primary Colors 17".
I agree! I looooooooove Mondrian! :D
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You'd probably be very disappointed if I told you what "Blood in the Water" is really about. Sometimes, when utilising the technique used in BITW, I just throw paint at the canvas and shove it about until something emerges, after which time I give it a pretentious title. (You didn't hear me say that!) It's not possible to do that with such abstracts as "Isis in the Midnight Brightly," which requires as many preliminary sketches and careful execution as is needed for the detailed completion of a portrait. To be perfectly honest with you (and I'm going to break my own rule here), I painted BITW years ago after grisly reports emerged in the media about someone being eaten by a crocodile in far northern Australia. As simple and mundane as that. It is sometimes better to allow your own imagination and the romance of the paint to do the interpreting, without allowing cold hard banal reality to get in the way.
Thanks for sharing your secrets! Surely, inspiration comes from various places, be it mundane or sublime. "Blood in the Water" is ambiguous enough, and better than "Crocodile Drool"! I'm all for imagination and romance!
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Let me know if you'd like to see my homoerotic drawings.
You bet! I'd love to see them.
Years ago I drew a couple of tasteful homoerotic nude studies, but nothing specifically inspired by J&E. It's certainly a good idea for future projects. :D
My existing nude studies are mild versions of drawings by iconic, homoerotic gay artists, Tom of Finland and Colt. Only difference is, I took the sex out and put the romance in. ::) They're both framed and at the back of a wardrobe somewhere. I remember, when I took one of them to be framed years ago, the framer refused to frame it. He suggested I try another framer nearby. Gave the excuse that he had a lot of work on and didn't have time to frame my nude. So I took his advice and tried the nearby framer, who turned out to be a cute little Greek guy. We developed a real rapport and I stayed with him for all my framing requirements from then on. Foolish of the other bloke, because I'd given him a lot of business up until that time. :(
As it turned out the the framer who refused it did you a big favour. You and the Greek framer were "meant for each other". As for the other block, his loss!
I love abstraction because different people see different things in the painting. I like to encourage this and for that reason, I prefer not to give my own personal meaning to a painting. A friend once told me that when she looked at "Blood in the Water," she imagined she was in a plane flying over Sydney Harbour at night, with all its little bays and inlets, looking down at the lit-up city from high above. Another friend who didn't like it said, "Humph, blood in the water, that looks about right!" She explained her comment to me by saying that she thought it looked like what she regularly saw when she looked in the toilet bowl. Told ya, it's all open to your own interpretation! ;)
The following is from me, not from Kerry, I don't know how to get it out of the "white quote box". Sorry!
I like painters to give a title to their paintings. With abstracts the title is always a surprise. When I look at Blood in the water I find it very relaxing, happily peaceful. It rests my eyes (even more so as since yesterday I have been wearing my new multifocal glasses, which are not easy to get used to...). It feels as if the painting is telling me "You can look at me for ever".
Going back to Velvet George, I looked at him again this morning, I do like the way you painted the red velvet cotton shirt. I am always attracted by the way clothes are painted. The folds, the creases, the light, especially those with little patterns.
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I have looked up Tom of Finland, I don't seem to be able to find Colt though.
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I located the homoerotic drawings! :D As expected, waaaay in the back of the wardrobe. Had to take everything else out, to get to them. :( I've not seen one of them for many years. Gives you an indication how infrequently I clean out the wardrobe! ::) Certainly, I've not seen it since the advent of BbM upon my life. I was surprised by it! It reminds me of a certain scene from BbM. :) But how could that be? It was drawn many years ago, when I was in my 20s. Kinda spooky! :o An omen, maybe? ??? I won't tell you which scene. Maybe it's just me. I'd be interested to know if anyone else picks up on it. It's nearly midnight here in Sydney Towne and my little bed is calling to me. I'll post the drawing tomorrow. Nighty-night all. :-*
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I love the suspense, Kerry!
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I love the suspense, Kerry!
I think Kerry does, too ;D.
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Lynne,
Thank you for fixing my post! :-*
Kerry,
I am having a guess: The dosy embrace.
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Lynne,
Thank you for fixing my post! :-*
Kerry,
I am having a guess: The dosy embrace.
My pleasure, sel...any time you have any problems, just PM any mod online! It's why we're here.
The dozy embrace is an excellent guess...to be different, I will guess the Siesta motel reunion conversation. :) :)
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Looking forward to the new pics!
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I located the homoerotic drawings! :D As expected, waaaay in the back of the wardrobe. Had to take everything else out, to get to them. :( I've not seen one of them for many years. Gives you an indication how infrequently I clean out the wardrobe! ::) Certainly, I've not seen it since the advent of BbM upon my life. I was surprised by it! It reminds me of a certain scene from BbM. :) But how could that be? It was drawn many years ago, when I was in my 20s. Kinda spooky! :o An omen, maybe? ??? I won't tell you which scene. Maybe it's just me. I'd be interested to know if anyone else picks up on it. It's nearly midnight here in Sydney Towne and my little bed is calling to me. I'll post the drawing tomorrow. Nighty-night all. :-*
oh my god.
Who knew Kerry was such a TEASE!!!??
>:( >:( >:(
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This is the drawing I’ve been rabbiting-on about. The one my friend borrowed to hang in her
bordello home. The one I extracted from the back of the wardrobe yesterday.
As previously mentioned, I’ve not looked at it for a couple of years; certainly, not since BbM burst upon my life. When I saw it yesterday, I was quite surprised by how evocative it is of the iconic image of the Dozy Embrace from BbM. Maybe it’s just me. But that’s what I thought, as soon as I saw it. I even think the guy in front has a bit of a Jack Twist look about him; particularly the elongated face and soulful eyes.
This is a direct copy of an original work by the American homoerotic artist who went by the nom de crayon of Rip Colt. His most famous drawings appeared in the 1960s/70s, after which time he appears to have stopped drawing and went into producing pornographic gay films. I guess that was where the money was.
When I was a young chap, I very much admired Rip Colt’s exquisitely detailed homoerotic imagery. There was always an air of mystery and romance about his drawings. Or, at least, it seemed that way to my youthful imagination at the time. And the models were always stunning. Stunning as in “Drop Dead Gorgeous!” stunning!
So why did I make this copy? For a couple of reasons, I guess. Primarily, I loved the look of it on a romantic level and also thought the models were very handsome. Beyond that, I also wanted to test myself. I wanted to see how disciplined my eye-hand coordination was. I wanted to see if I could reproduce on paper, the image that was coming in through my eyes. Previously, I’d never had any trouble reproducing faces. It was the muscle, sinew, tendons, veins and arteries that I found most challenging here. And the hands too. The hands were particularly challenging. I also wanted a larger version of the original, suitable for framing. The original was quite small.
It’s been so long since I saw it, I’d forgotten what I called it. On the back, I found “Nude Study after Rip Colt,” written in my youthful hand. I have now crossed that out and inscribed its new title: “The Embrace.”
So, here it is, (drum roll) emerging from the darkness after many years in exile, “The Embrace.”
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/TheEmbrace.jpg)
The Embrace
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/TheEmbrace-Detail1.jpg)
Detail from The Embrace
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you do eyes SO well, Kerry....very evocative, draws you in...
I like how their posture and bodies seem relaxed but the arms and hands have tension in them..with the raised veins, as if they are trying to hold on tight...
lovely!!
thank you for sharing!
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Lynne,
Thank you for fixing my post! :-*
Kerry,
I am having a guess: The dosy embrace.
Spot on, Sel. :)
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My pleasure, sel...any time you have any problems, just PM any mod online! It's why we're here.
The dozy embrace is an excellent guess...to be different, I will guess the Siesta motel reunion conversation. :) :)
It is similar to the Siesta motel reunion, Lynne, in that they appear to be reclining, one behind the other. But it's the way the guy behind has his arm draped around the neck of the guy in front that reminds me so much of the Dozy Embrace. :)
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oh my god.
Who knew Kerry was such a TEASE!!!??
>:( >:( >:(
Noooo! It's not true. I'm not a tease. I'm innocent. 8)
I'm on the other side of the world from the rest of you. Once I found the drawings, I then had to photograph them. They are too big to scan. Because they are framed behind glass, I couldn't photograph them with flash at night. (It would have been very difficult to get them out of the frames) I had to wait to photograph them under natural light, without the flash, which is what created the delay. Forgive me? :-*
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you do eyes SO well, Kerry....very evocative, draws you in...
I like how their posture and bodies seem relaxed but the arms and hands have tension in them..with the raised veins, as if they are trying to hold on tight...
lovely!!
thank you for sharing!
Yep, I like eyes. My favourite part of the body.
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Noooo! It's not true. I'm not a tease. I'm innocent. 8)
I'm on the other side of the world from the rest of you. Once I found the drawings, I then had to photograph them. They are too big to scan. Because they are framed behind glass, I couldn't photograph them with flash at night. (It would have been very difficult to get them out of the frames) I had to wait to photograph them under natural light, without the flash, which is what created the delay. Forgive me? :-*
of course!! teasing is good, when you back it up! ;)
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Spot on, Sel. :)
Do I get a prize? ;D
Actually both Lynne and I win as it is the Dozy embrace with the Motel Siesta scene.
This is the drawing I’ve been rabbiting-on about. The one my friend borrowed to hang in her bordello home. The one I extracted from the back of the wardrobe yesterday.
As previously mentioned, I’ve not looked at it for a couple of years; certainly, not since BbM burst upon my life. When I saw it yesterday, I was quite surprised by how evocative it is of the iconic image of the Dozy Embrace from BbM. Maybe it’s just me. But that’s what I thought, as soon as I saw it. I even think the guy in front has a bit of a Jack Twist look about him; particularly the elongated face and soulful eyes.
Yes, the eyes and the eyebrows remind me of Jack's too. I am also fascinated by the other guy, his closed eyes make me feel the intensity of the embrace, of their feelings.
Well, if you're going to put it back in the back of your wardrobe, please, ship it over to Italy today. My flat ain't luxurious like your friend's, but I will be extremely proud to have it hanging on my wall.
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beautiful!
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Well, if you're going to put it back in the back of your wardrobe, please, ship it over to Italy today. My flat ain't luxurious like your friend's, but I will be extremely proud to have it hanging on my wall.
Yep, it's going back in the wardrobe. Now that I have pics of it, however, I will be posting copies at my webshots site, as well as on facebook. Oh, and also here at BetterMost, of course. :D
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Who would ever suspect a gay man of deliberately creating drama? 8)
;) ::) :laugh:
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Yes, the eyes and the eyebrows remind me of Jack's too. I am also fascinated by the other guy, his closed eyes make me feel the intensity of the embrace, of their feelings.
Kerry,
I wholeheartidly apologise. I wrote that the eyes of the other guy are closed, whereas they are not. They are lowered. His look is just as beautiful.
As I mentioned in an earlier post I am wearing this new pair of multifocus glasses (not sure whether it is the right English word, in Italian we say 'progressive' glasses), I when I sit at the PC I don't seem to able to find the right distance. After a while my eyes hurt too. I am shortsighted, longsighted and astigmatic, and thought that this pair of specs would solve all my problems once and for all but it seems I have no such luck ....
It is a pity that The Embrace will go back into the wordrobe, I imagine your house is full of paintings.
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Kerry,
I wholeheartidly apologise. I wrote that the eyes of the other guy are closed, whereas they are not. They are lowered. His look is just as beautiful.
As I mentioned in an earlier post I am wearing this new pair of multifocus glasses (not sure whether it is the right English word, in Italian we say 'progressive' glasses), I when I sit at the PC I don't seem to able to find the right distance. After a while my eyes hurt too. I am shortsighted, longsighted and astigmatic, and thought that this pair of specs would solve all my problems once and for all but it seems I have no such luck ....
It is a pity that The Embrace will go back into the wordrobe, I imagine your house is full of paintings.
I do have quite a few paintings hanging throughout my apartment, Sel, which is, alas, not large, meaning the majority of my paintings are relegated to storage. I tend to rotate the paintings, giving them an airing for a while and then returning them to storage. Only a few, much loved paintings, stay on permanent show, two of which were not painted by me.
Like you, I too am myopic and have worn spectacles for years. I tried contact lenses a few times but couldn't take to them. I always felt like my eyes were full of sand, which was very aggravating and painful. I was prescribed multifocal lenses about five years ago. Friends warned me that I would have a great deal of trouble with them and that it would take me a long time to get used to them. Well, can I tell you, just the opposite happened. I took to them like a duck to water! My vision was spectacularly improved. Coupled with that, my new spectacles were frameless, meaning my vision was unrestricted. I no longer viewed the world through a window-frame attached to my face. It was like a miracle for me. My advice is to persevere with the multifocal lenses. If you continue to have problems, perhaps you might consider returning to the optometrist to see if he set the different vision bands correctly. I love my multifocal frameless spectacles. They literally changed the way I view the world. :D
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Thank you for your encouragement Kerry. I have been wearing my multifocal glasses since Thursday afternoon, while I am OK walking and moving about, even driving, when it comes to reading, sitting at the pc I seem to be in trouble. My eyes are hurting as I am writing this. I have tried contact lenses too, but like you experienced all sorts of problems with them. In my 20s (now I am 46) I worked for a couple of years as an air-stewardess, in those days we were not allowed to wear glasses, and in the end, after trying different types of lenses, I quit the job.
Anyway, that's enough about glasses, I look very much forward to seeing more of your paintings.
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For me, the hardest thing to paint is a self portrait. I find it very difficult to view my own features objectively. I have too much emotional baggage invested there. I know exactly what’s going on behind the façade. Should I paint the mask or the reality? I have made several attempts at painting self portraits over the years, none of which have been particularly successful, in my view.
This is probably one of my more successful attempts. It was painted during a distressingly tumultuous period in my life. I started out with a traditional representation of my features and then dissected them whilst manipulated the paint by various means, until I arrived at a satisfactory representation of the state of my psyche at that time.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/SelfPortrait-1983-Detail1.jpg)
Self Portrait
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/SelfPortrait-1983-Detail2.jpg)
Detail from Self Portrait
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how did you feel when you finished it, Kerry?
it is hard to explain how I see it....I think I need to think on it a while. it is ?disturbing? to me? not sure that is the word I am looking for..
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how did you feel when you finished it, Kerry?
it is hard to explain how I see it....I think I need to think on it a while. it is ?disturbing? to me? not sure that is the word I am looking for..
Hi Kerry,
Injest has posed a very interesting question.
I looked at the painting before reading your post. I like the colours, blue, white, lilac (or light purple) red. English isn't my first language, what I am trying to say is that to me those "decided", "marked" stroke brushes evoke energy, assertiveness.
It is certainly the most original of the self portraits I have seen so far.
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Hi Kerry,
Injest has posed a very interesting question.
I looked at the painting before reading your post. I like the colours, blue, white, lilac (or light purple) red. English isn't my first language, what I am trying to say is that to me those "decided", "marked" stroke brushes evoke energy, assertiveness.
It is certainly the most original of the self portraits I have seen so far.
yes, almost to the point of being aggressive....
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It's always interesting to hear the different interpretations, meanings and messages generated by an abstract painting. We're such a complex species, we human beings. We read so much into the signs, portents and symbols surrounding us in our everyday lives. As an artist, I particularly enjoy hearing different interpretations of my paintings. They often vary vastly and sometimes generate wildly divergent reactions in different individuals. And they can polarize people, too. You either love 'em or you hate 'em. There is usually no gray area in between.
How do I feel about this painting, you ask. Well, I am technically pleased with the finished result; that is, I am pleased with the technique used in its creation. I am happy with the composition of the subject matter, application of the paint and use of colour. However, at a gut level, at an emotional level, I must confess that this is not one of my favourite paintings. It conjures-up for me a period in my life that is probably best left behind. When I look at this painting I see despair and desolation, symbolized by the frenetic application of the paint and the utilization of a cool, somber palette.
It does not pretend to be a photorealistic representation of my physical appearance. That was never my intention here. It is intended to represent the state of my psyche during a particularly turbulent period in my life.
It was so very interesting for me to read that this painting generated such interpretations as aggression and assertiveness in others. Perhaps that is subliminally what was on my mind at a deeply subconscious level when I painted this self portrait. But it would only have been because I wanted to assertively and aggressively escape the situation I was in at that time. Thank you, Sel and Jess, for presenting this interpretation to me. I value your feedback. Alas, however, for me it will always be a depressing painting, filled with desolation and despair.
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well it struck me you said you started out with a more realistic representation of your features then used other techniques that destroyed or altered the features...as if you couldn't stand to see yourself like that....I wondered if it was cathartic (sp); if you felt relieved when you were finished...
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Hey there, Kerry,
I'm just getting back to this thread. I really love The Embrace. You have so much talent, Friend. And who would have thought you'd paint it years before Brokeback Mountain? No coincidences...I wonder?
About the self-portrait, I definitely feel viscerally the unhappiness and desolation you describe, even via computer. I cannot imagine what it would be like to see in person. In that sense, I think you were successful in representing yourself. I'm also interested in your answer to Jess' question about painting it as catharsis?
Much love,
Lynne
:-*
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the other thing I admire about you Kerry is your willingness to put yourself out there. I think an artist can reveal a lot about themselves thru their work (I suppose they could hide themselves behind it too if they wanted to ...)
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well it struck me you said you started out with a more realistic representation of your features then used other techniques that destroyed or altered the features...as if you couldn't stand to see yourself like that....I wondered if it was cathartic (sp); if you felt relieved when you were finished...
Alas, Jess, I can recall no feeling of abreactive cathartic release upon completion of this painting. There was no feeling of elation. I wish I could say there had been.
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Hey there, Kerry,
I'm just getting back to this thread. I really love The Embrace. You have so much talent, Friend. And who would have thought you'd paint it years before Brokeback Mountain? No coincidences...I wonder?
About the self-portrait, I definitely feel viscerally the unhappiness and desolation you describe, even via computer. I cannot imagine what it would be like to see in person. In that sense, I think you were successful in representing yourself. I'm also interested in your answer to Jess' question about painting it as catharsis?
Much love,
Lynne
:-*
Thank you for your kind words, Lynne. It makes me so happy that you like "The Embrace."
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the other thing I admire about you Kerry is your willingness to put yourself out there. I think an artist can reveal a lot about themselves thru their work (I suppose they could hide themselves behind it too if they wanted to ...)
That's very true, Jess. And I always enjoy hearing new interpretations of my paintings. It opens my mind and makes me think.
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Having trouble seeing "me" in my previously posted abstract Self Portrait? ???
Hint: Hold a mirror in front of the image and view it in the mirror. :D
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The portrait of Geri in the first post of this thread was a scan of a hard-copy photo and did not reproduce the original painting with satisfactory clarity. I have, therefore, replaced it with a new digitally formatted image. :)
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Though I have not worked professionally as an artist, my art has never ceased to sustain and nourish me throughout my life. It keeps me grounded and centered. My art provides a place where I can retreat and hide when the going gets tough. A safe refuge. My art is always there for me. When I am painting, time and space cease to exist for me.
Hi Kerry,
It must be somehow (not sure whether this is the word I am looking for) reassuring to have something like that where time and space cease to exist. One's own place. “Kerry's place”.
I like the portrait of Geri very much, the stained glass window design and the resemblance to Modigliani's style. I had seen photos of Modigliani's paintings but it wasn't until I saw an exhibition on him, two/three years ago, that I really got to like and appreciate his style.
What did Geri say about the portrait?
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I am enormously fond of the work of Modigliani. I particularly love his portraits. He tragically died far too young. :'(
I hope all is well with you, Sel, and you weren't anywhere near the earthquake when it struck.
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I am fine Kerry. I live in a different part of Italy, North West. Thank you for asking.
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Im glad you're okay Sel...
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This is an early portrait study of my friend, Daniel, rendered in graphite on cartridge paper. The first things that struck me about Daniel when I met him back in the 1970s, were his pronounced aquiline features and his disturbingly “big” hair. I was to later discover that they were the legacy of his Slavic ancestry.
Daniel and I met at work and became firm friends immediately. We shared our deepest, darkest secrets together. We became so close, so quickly, there was no opportunity, or desire, for our friendship to be anything other than platonic. It was almost as though we were related. Yep, you guessed it. I had found my gay sister! Any gay man who has ever had a gay, male "sister" will know exactly what I mean by that expression.
I produced many studies of Daniel, of which this is my favourite. I went on to paint three portraits of him in oils on canvas. I will later hang two of those portraits here in the gallery.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/10-Daniel.jpg)
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like the profile on an ancient coin!!
like in your signature!
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like the profile on an ancient coin!!
like in your signature!
It's possible that Daniel could have the blood of Alexander flowing through his veins. His father comes from that part of the world.
Signature = K W
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Very nice Kerry! Daniel reminds me of someone but can't remember who.
like the profile on an ancient coin!!
like in your signature!
Yes!
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It's possible that Daniel could have the blood of Alexander flowing through his veins. His father comes from that part of the world.
Oops! WRONG! Probably unlikely, as Daniel's father comes from Dubrovnik on the Adriatic coast, not from Macedonia. Mea culpa. It was so much easier when it was just called Yugoslavia.
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Of the three portraits I've painted of Daniel, this is the first. It is painted in oils on canvas and is 60cm x 50cm (24" x 20").
It may be necessary to scroll over --> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/11-Daniel.jpg)
Daniel
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/11-Daniel-Detail.jpg)
Detail
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Kerry,
This portrait is very beautiful. Even more in this painting Daniel reminds me of somebody, and I can't remember who.
It is always a pleasure to the eye to come to this thread.
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I love the strong brush strokes....it makes me think you painted this quickly, rawly (is that a word?)...it feels like a burst of inspiration...
and yeah I know that doesnt' make any sense... :laugh: :laugh:
it is 'stronger' than some of your other paintings...
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Kerry,
This portrait is very beautiful. Even more in this painting Daniel reminds me of somebody, and I can't remember who.
It is always a pleasure to the eye to come to this thread.
I'm glad you are enjoying the gallery, Sel. You are always welcome to visit any time. :D
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I love the strong brush strokes....it makes me think you painted this quickly, rawly (is that a word?)...it feels like a burst of inspiration...
and yeah I know that doesnt' make any sense... :laugh: :laugh:
it is 'stronger' than some of your other paintings...
I agree, Jess, it does have a certain spontaneous, expressionistic look about it.
The strength of Daniel's personality, coupled with his melancholic Slavic angst, are the two aspects of his personality I was trying most to capture. Oh, and his physical features also, of course.
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I completed this painting shortly after the death of Princess Diana. It is titled “Vale” (pron. Vah-lay; Latin - Farewell) and is dedicated to Diana’s memory. It is a large canvas at 4ft x 3ft (120cm x 90cm) and is executed in oils on canvas. It hangs in a gilt frame, on the wall above my bed, where it contributes a certain restful, serene atmosphere to my bedroom. Qualities that could not necessarily be attributed to Diana during the course of her tragically short, epically Shakespearean life. Noble birth, cloistered upbringing, royal marriage, two little princes, betrayal, exile from court, early death, entombment on an island in a lake. Yep, it was Shakespearean alright!
It may be necessary to scroll over --> to see the complete image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/12-Vale.jpg)
"Vale"
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oh!!
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wow, Kerry.
this one is gonna take some visits. I am not sure what I think!!!
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Hi Kerry,
The first thing that came to my mind when I looked at the "Vale" was "sunset". I felt the colours conveyd warm, heartfelt feelings. Then, I read you post.
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Oh wow!!! I love the portrait of Daniel. And the eyes do follow, just like Gary said. I think this is one of my favorites thus far.
I also have a very special place in my heart for Diana, so I love "Vale" too. I'm not sure I understand it entirely but it is very sad and I think it accurately reflects my feelings and emotions just after I found out she had died. I felt confused, sad and I couldn't make sense of it all. It was like "WHY"? That's what I feel when I look at "Vale".
You are a very talented artist Kerry. I had no idea you were so talented. I knew you were talented but...
Thanks for taking the time to post your artwork and sharing it with us. :D
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What David said: thanks for sharing your art with us, I enjoy it very much. Even if I don't comment on every pic, I'm a regular on this thread.
Daniel's eyes look sad.
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wow, Kerry.
this one is gonna take some visits. I am not sure what I think!!!
Kerry's Gallery is open 24/7, Jess. We never close. ;) You are welcome to visit any time. :D
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Hi Kerry,
The first thing that came to my mind when I looked at the "Vale" was "sunset". I felt the colours conveyd warm, heartfelt feelings. Then, I read you post.
Though it was not my intention at the time of painting (I was filled with grief at the time), sometimes when I now look at "Vale" I feel like I'm immersed in the centre of a glorious sunset. Not viewing the sunset from afar, way off on the distant western horizon, but immersed right in the middle of it. I got goosebumps when I read your post, Sel. We're right on the same wavelength with this one.
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Wonderful portrait, Kerry. I feel the eyes right on me.
Thank you kindly, Gary. :)
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Oh wow!!! I love the portrait of Daniel. And the eyes do follow, just like Gary said. I think this is one of my favorites thus far.
I also have a very special place in my heart for Diana, so I love "Vale" too. I'm not sure I understand it entirely but it is very sad and I think it accurately reflects my feelings and emotions just after I found out she had died. I felt confused, sad and I couldn't make sense of it all. It was like "WHY"? That's what I feel when I look at "Vale".
You are a very talented artist Kerry. I had no idea you were so talented. I knew you were talented but...
Thanks for taking the time to post your artwork and sharing it with us. :D
I too experienced all those emotions when Diana died, David. It was so very sad. Tragic. They started a condolences book in the chapel at work and held a memorial service. I went along and remember writing "A new Star in Heaven" in the book. Not very original, but I meant it sincerely. I believe the book was later presented to the British Consul General here in Sydney. :'(
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What David said: thanks for sharing your art with us, I enjoy it very much. Even if I don't comment on every pic, I'm a regular on this thread.
Daniel's eyes look sad.
I painted three portraits of Daniel. He doesn't look quite so sad in the others. Well, maybe a little bit.
Glad you're enjoying the gallery, Chrissi. :D
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Though it was not my intention at the time of painting (I was filled with grief at the time), sometimes when I now look at "Vale" I feel like I'm immersed in the centre of a glorious sunset. Not viewing the sunset from afar, way off on the distant western horizon, but immersed right in the middle of it. I got goosebumps when I read your post, Sel. We're right on the same wavelength with this one.
Metaphorically speaking we could say the sun had set on Diana's life forever (that is if Forever exists ...).
I can see why you feel immersed in it, the way you mixed the colours is very intense.
Where I live I enjoy spectacular sunsets. Even if I have seen them hundreds of times I still find myself starring at some of them in awe.
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:-*
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I completed this painting shortly after the death of Princess Diana. It is titled “Vale” (pron. Vah-lay; Latin - Farewell) and is dedicated to Diana’s memory. It is a large canvas at 4ft x 3ft (120cm x 90cm) and is executed in oils on canvas. It hangs in a gilt frame, on the wall above my bed, where it contributes a certain restful, serene atmosphere to my bedroom. Qualities that could not necessarily be attributed to Diana during the course of her tragically short, epically Shakespearean life. Noble birth, cloistered upbringing, royal marriage, two little princes, betrayal, exile from court, early death, entombment on an island in a lake. Yep, it was Shakespearean alright!
It may be necessary to scroll over --> to see the complete image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/12-Vale.jpg)
"Vale"
bringing it forward..
I love this....I can see why you have it in your bedroom...there is something calming in it. acceptance? resignation? the dark falling but the colors still clear and beautiful, almost more intense. I CAN immerse myself in it...
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bringing it forward..
I love this....I can see why you have it in your bedroom...there is something calming in it. acceptance? resignation? the dark falling but the colors still clear and beautiful, almost more intense. I CAN immerse myself in it...
"The dark falling but . . . . . . still beautiful." Diana, eternally beautiful. :'(
(http://i287.photobucket.com/albums/ll149/pokey4852002/diana_08.jpg)
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"The dark falling but . . . . . . still beautiful." Diana, eternally beautiful. :'(
(http://i287.photobucket.com/albums/ll149/pokey4852002/diana_08.jpg)
:) ;)
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Like most artists, I have completed a range of self portrait studies and paintings over the years. When you can’t find someone to sit for you, there’s always a willing and eager subject right there in the mirror. Apart from that, there’s also the self-analysis thing that seems to obsess many artists, myself included.
This is a detail from a self portrait painted in 1970, when I was 20, nearly 40 years ago. I am not posting the complete portrait because, to be quite frank, I find it somewhat embarrassing. Embarrassing for a number of reasons, not least of all because of what I am wearing in the original. The reason I have selected this clip is because I thought it would be fun to compare it to my present BetterMost avatar. It stands-up quite well, cheesy grin notwithstanding. It’s not that I was a particularly cheerless, grim-faced individual back then. That’s not the case at all. Rather, at the time of painting this portrait, I was intensely self-absorbed in analyzing my features in an endeavour to capture them on canvas. Though it appears that I am looking at you, I am, in fact, closely examining my own features in the mirror.
My avatar photo at left was taken in March 2008, whereas the portrait was painted in 1970, so there’ll be some extra wrinkles evident in the former. But there’s another difference. Do you know what it is? The avatar is a photograph of the right side of my face, whereas the portrait is a mirror image, which makes it the left side of my face, as viewed by me looking in the mirror as I painted my features. Confusing, no?
This painting is executed in oils on canvas.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/13-SelfPortrait1970.jpg)
Self Portrait - 1970
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eyes are your forte! They are all so riveting...the focus.
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Hi Kerry,
Obviously I don't know you in person but by looking at your avatar you haven't changed very much! Very nice portrait. The lips remind me of Heath's.
I agree with Injest about eyes being your forte.
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yes, the eyes are great.
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NOW
I want to know what you were wearing that was so embarrassing....
my imagination is running rampant!!
a tutu? highwaters? a Christmas sweater with bulbs that light up? WHAT!!!??
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Thank you for your kind feedback, Jess, Sel and Kelda. :)
And Jess, as to what I was wearing, I'll just have to leave that to your imagination. ;) Suffice to say, however, that it was the (very early, barely out of the 60s) 70s! 8) ;D
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Thank you for your kind feedback, Jess, Sel and Kelda. :)
And Jess, as to what I was wearing, I'll just have to leave that to your imagination. ;) Suffice to say, however, that it was the (very early, barely out of the 60s) 70s! 8) ;D
oh NO!! GOLD LAME'!!!!!!
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Kerry, I love your green eyes. (They are green, aren't they?)
I'm guessing you're wearing a rather large collar. Either that or a purple paisley ascot.
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Kerry, I love your green eyes. (They are green, aren't they?)
I'm guessing you're wearing a rather large collar. Either that or a purple paisley ascot.
Oh that my eyes were really that beautiful shade of green, Paul. Alas, fact is, I must confess, there's a tiny smidgin of artistic license at play here. My eyes are actually hazel, an eye colour which can range from green to brown to any indefinite shade of browny/green in between. I would like to think my eye colour is closer to the green end of the hazel spectrum; however, not quite as intensely green as is flatteringly depicted here. ;) 8)
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Kerry, I love your green eyes. (They are green, aren't they?)
That's just what I wanted to ask. Are your eyes really such a clear green? I love green eyes.
As to what you were wearing: I guess it's much less extraordinary than people's imaginagion here ;). My guess is that it was just something regular at that time, but embarrassingly colorful/mismatched by today's standards.
ETA: oh, I see the eye color question is already solved!
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Oh that my eyes were really that beautiful shade of green, Paul. Alas, fact is, I must confess, there's a tiny smidgin of artistic license at play here. My eyes are actually hazel, an eye colour which can range from green to brown to any indefinite shade of browny/green in between. I would like to think my eye colour is closer to the green end of the hazel spectrum; however, not quite as intensely green as is flatteringly depicted here. ;) 8)
Noticed how Kerry avoided the I'm guessing you're wearing a rather large collar. Either that or a purple paisley ascot
:laugh: :P :laugh:
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I'll see that wide collared shirt, and raise you a fringed vest over it, and bell-bottom pants.
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Oh yeah, I'll see your fringed vest, bell-bottom pants, and raise you white patent leather shoes!
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Through a dense patchouli haze, I seem to recall that I did once own a black suede fringed vest. Bell-bottom trousers too. And paisley! I loved paisley back then! Still do! Even I draw the line at white patent leather boots and gold lame, however! ;) :laugh:
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Through a dense patchouli haze, I seem to recall that I did once own a black suede fringed vest. Bell-bottom trousers too. And paisley! I loved paisley back then! Still do! Even I draw the line at white patent leather boots and gold lame, however! ;) :laugh:
Fact for the day:
Resembling a large comma or twisted teardrop, the kidney-shaped paisley is Indian and Persian in origin, but its western name derives from the town of Paisley, in central Scotland.
(from http://en.wikipedia.org/wiki/Paisley_(design) )
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Through a dense patchouli haze, I seem to recall that I did once own a black suede fringed vest. Bell-bottom trousers too. And paisley! I loved paisley back then! Still do! Even I draw the line at white patent leather boots and gold lame, however! ;) :laugh:
In five years, when the technology allows, I'm going to come back to this thread, and embed some patchouli we can all smell as we read. Ah patchouli, I remember thy dense haze...
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In five years, when the technology allows, I'm going to come back to this thread, and embed some patchouli we can all smell as we read. Ah patchouli, I remember thy dense haze...
Can you believe I still have some patchouli in my possession? It's an intoxicating blend of patchouli, ylang ylang and orange, and is marketed as Comforting Blend Essential Oil by Jurlique ( available online at www.jurlique.com.au ). A few drops in some water in a vaporizer above a candle flame adds a wonderfully contemplative ambiance to a room prior to meditation. Alternatively, it's lovely to wear as a dab on each wrist. It's amazing that patchouli was worn as a perfume in ancient times and is still being worn today.
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Warning: There follows personal commentary regarding certain Roman Catholic Church doctrine that some people may find offensive. Please do not continue beyond this point if it is likely that you may be so offended.
It was back in my school days when Bernini’s gorgeous sculpture, “The Ecstasy of Saint Teresa,” first captured my imagination.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/ecstasyofstteresa-bernini-60pc.jpg)
“The Ecstasy of Saint Teresa” by Gianlorenzo Bernini, 1645
I thought it was the most beautiful thing I had ever seen. One must bear in mind that I was a somewhat religiously-minded young chap back then, with particular leanings towards the cloistered monastic Carmelite Order of the Roman Catholic Church, of which Saint Teresa of Avila was a member in medieval Spain (not to be mistaken with Saint Therese of Lisieux, known as “The Little Flower,” a French Carmelite nun).
The story goes that Saint Teresa was praying in chapel one day when an angel appeared to her, holding an arrow. The angel thrust the arrow into Saint Teresa’s breast, which she experienced as an ecstatic, overpoweringly euphoric sensation of divine love. Bernini has graphically captured the moment of penetration in his famous sculpture.
As I got older, I began to wonder about this ecstatic penetration of St Teresa. I loved the sculpture no less, but I did begin to question the entire notion of a celibate nun being penetrated in any way whatsoever; be it by a decidedly phallic looking divine arrow or otherwise. And what’s more, being thrown into an enraptured, ecstatic state as a consequence.
Just look at the expression on her face. Is that soaring religious ecstasy you see, or more likely to be a decidedly carnal orgasm going on there? So I painted my own version:
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/15-ecstasyofstteresa-60pc.jpg)
“The Ecstasy of Saint Teresa”
The angel has been morphed into a twisted, gyrating beam of light, which embraces the saint and holds her close. She appears to have lost her habit in the process. I’m not exactly sure how that happened.
My painting is rendered in oils on canvas and is 4ft x 3ft in size (120cm x 90cm).
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Wow. It's powerful, Kerry. I can't believe we are lucky enough to see these works of art and be friends with the artist. It feels sort of Chagallian and Picassoesque to me.
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Ta muchly, Clarissa. Next painting to be hung in the gallery will be a little less severe. ;D
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Just look at the expression on her face. Is that soaring religious ecstasy you see, or more likely to be a decidedly carnal orgasm going on there? So I painted my own version:
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/15-ecstasyofstteresa-60pc.jpg)
“The Ecstasy of Saint Teresa”
The angel has been morphed into a twisted, gyrating beam of light, which embraces the saint and holds her close. She appears to have lost her habit in the process. I’m not exactly sure how that happened.
I *love* this Kerry. I think it may be my fave so far!
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Hi Kerry,
I like the angel represented by the beam of light, her body, but for some reason I am finding the expression on her face disquieting, may be it is the pointed tongue.
Next time I am in Rome I shall go the church of Santa Maria della Vittoria to see the Bernini's sculpture.
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I *love* this Kerry. I think it may be my fave so far!
Glad you like it, Kelda. Something more upbeat and colourful next. :D
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Hi Kerry,
I like the angel represented by the beam of light, her body, but for some reason I am finding the expression on her face disquieting, may be it is the pointed tongue.
Next time I am in Rome I shall go the church of Santa Maria della Vittoria to see the Bernini's sculpture.
I know what you mean about the tongue, Sel. Lots of people don't like it. I didn't deliberately set-out to paint it that way. It just emerged of its own accord as I painted the picture. Like the absence of clothing. I've had much adverse comment about the depiction of a naked nun. I have no explanation for that, either, though. Again, it was something that just emerged involuntarily from the canvas as I painted the picture.
If I was pressed for an explanation, I guess I'd have to say that I was somewhat fixated at the time by the subject matter of a cloistered nun in ecstasy; an ecstasy that appeared to be just a tiny tad less than spiritual to me. Bernini appears to have depicted Teresa panting, with her mouth gaping open and head lolling backwards. If not panting, she certainly appears to be moaning. I took that one step further and portrayed her shrieking and salivating. I was very interested in the paintings of gay English artist, Francis Bacon, at the time. He was fond of painting screaming popes. I've sometimes thought that maybe Francis Bacon was perhaps whispering in my ear as I painted this picture.
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well I dont know anything about religious imagery but I have seen many religious paintings that have nudity in them so that didnt' shock me. the tongue did give me pause!!
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I know what you mean about the tongue, Sel. Lots of people don't like it. I didn't deliberately set-out to paint it that way. It just emerged of its own accord as I painted the picture. Like the absence of clothing. I've had much adverse comment about the depiction of a naked nun. I have no explanation for that, either, though. Again, it was something that just emerged involuntarily from the canvas as I painted the picture.
If I was pressed for an explanation, I guess I'd have to say that I was somewhat fixated at the time by the subject matter of a cloistered nun in ecstasy; an ecstasy that appeared to be just a tiny tad less than spiritual to me. Bernini appears to have depicted Teresa panting, with her mouth gaping open and head lolling backwards. If not panting, she certainly appears to be moaning. I took that one step further and portrayed her shrieking and salivating. I was very interested in the paintings of gay English artist, Francis Bacon, at the time. He was fond of painting screaming popes. I've sometimes thought that maybe Francis Bacon was perhaps whispering in my ear as I painted this picture.
Absolutely!
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This is the first painting I ever sold. Ha! That sounds like I’ve sold lots of paintings, which isn’t the case. Like so many artists, I’m not good at marketing my product. I’m happy when I sell a painting but it doesn’t trouble me that I’ve not sold vast numbers of painting. Hey! I’ve sold more paintings than Vincent Van Gogh ever did! ;) :laugh:
This is another, entirely different, take on Bernini’s “Ecstasy of Saint Teresa.” One can still see the lolling head and panting mouth, as depicted by Bernini, but the entire atmosphere surrounding this representation of the ecstatic saint differs vastly from my previous painting. The previous painting is brutally graphic. It could be described as ugly. Whereas there’s something more mystical about this painting. Could be the pseudo stained glass abstraction which lends an element of the cloister to the imagery.
This painting is rendered in oils and Conte pastels on canvas. It is 90cm x 60cm (3ft x 2ft). Apologies for the poor quality of the image. It is a scan of a hardcopy photograph. I can’t take a digital photograph, because I no longer have access to the painting.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/16-EcstasyofSaintTeresa.jpg)
The Ecstasy of Saint Teresa
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how interesting!! a mixture of styles? I get a sense of a voluptious woman and sensuality..
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how interesting!! a mixture of styles? I get a sense of a voluptious woman and sensuality..
Funny you should say that, Jess. That's a pretty good description of the woman who bought it. Maybe she recognized something of herself there on the canvas.
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Funny you should say that, Jess. That's a pretty good description of the woman who bought it. Maybe she recognized something of herself there on the canvas.
I also get that too Jess, so perhaps the buyer did!
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Like Injest and Kelda I also get the impression of a very voluptuous and sensual woman.
I like that the painting looks like pieces of a puzzles put together in no particular order, which, I think, makes the woman even more sensual, as the viewer has to use his/her imagination to figure what she would actually look like.
I'll take it that the red with white dots in it represents the beam of light like in your previous painting.
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I'll take it that the red with white dots in it represents the beam of light like in your previous painting.
That is correct, Sel. Imagine motes of dust in a beam of light.
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I painted this portrait of my mother not long after my father passed away. Mum was in deep mourning. It was a sad time for all the family, but especially so for my mother. To say it’s not a happy painting would be a mastery of understatement. It encapsulates not only the grief my mother was then experiencing, but also the state of my own world just then. This painting is very precious to me. It is essentially a loving and deeply personal remembrance of my mother, but also a memento mori - a subtle reminder, hanging there on the wall in my home, that all things are transitory and impermanent and that one day I too will die. If my home was ablaze and I could only take three items with me from the burning building, this portrait of my beloved mother would be one of the three items I would choose to take. It is painted with an appropriately somber palette in oils on canvas and is 61x51cm (24x20in). It may be necessary to scroll over --> to see the complete image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/17-Mama.jpg)
“Portrait of the Artist’s Mother”
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Kerry - you have some wonderful memories and such a beautiful skill.
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Kerry,
Her eyes express all the sadness. She has beautiful hair. Thank you for sharing this precious painting with us.
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beautiful....the way her face is half in darkness, her posture..you are right it breathes grief but also an acceptance .....thank you Kerry..
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Thank you for your kind words, Kelda, Sel and Jess. :-* :-* :-* I'm thinking it might be nice to hang a bright, cheerful abstract next. :D
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In my early teens, in high school, I came across a most beautiful piece of music. It was Peter Tchaikovsky’s symphonic poem “Francesca da Rimini: Symphonic Fantasy after Dante, Op.32.”
Wikipedia describes the tragic tale of Francesca da Rimini thus:
“In this fantasia, Tchaikovsky presents a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalized in Dante's Divine Comedy. In the fifth canto of Inferno, Dante the narrator meets the shade of Francesca da Rimini, a noblewoman who fell in love with the brother of her ugly husband. After the lovers were discovered and killed in revenge by the husband, they were condemned to Hell for their adulterous passions. In their damnation, the lovers are trapped in a violent storm but separated from each other, never to touch again. They are tormented most of all by the ineradicable memory of the joys and pleasures of the embraces they once shared.” (my italics = J&E?)
It’s perhaps worth taking 25 minutes out of your busy day to listen to this beautiful piece of music by Peter Tchaikovsky, one of my own most admired, truly inspirational, gay heroes.
Peter Tchaikovsky: Francesca da Rimini Symphonic Fantasy after Dante Op 32, Part 1:
&feature=related
Peter Tchaikovsky: Francesca da Rimini Symphonic Fantasy after Dante Op 32, Part 2:
Peter Tchaikovsky: Francesca da Rimini Symphonic Fantasy after Dante Op 32, Part 3:
&feature=related
At the risk of appearing trite in the face of Tchaikovsky’s soaring genius and Francesca’s grim despair, my contribution to the tragic tale of Dante’s star-crossed, tragic lovers was to produce this humble gouache. I was 16 and experiencing a terrible despair of my own at the time. I had a major crush on one of the physical education teachers at school. I gave my painting the legitimate title of “Francesca da Rimini,” depicting, as it appears, the hand of Francesca descending into the Inferno. But I have a confession to make. That’s not the real subject of this painting. It was, in fact, painted on the day of my beloved teacher’s wedding. The hand being drawn down into the Stygian Pit is actually that of his bride. Thus was the intensity of my adolescent despair on that fateful day in 1966.
Not many of my paintings survived my youth. Most were destroyed by me years ago. I’m quite ruthless about destroying paintings I deem to be unworthy of survival. Having said that, however, I’ve not been able to bring myself to relegate this one to the flames.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/FrancescadaRimini-1966.jpg)
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Moving quickly along from my embarrassing revelations of unrequited adolescent lust (blush), here’s the bright, cheerful abstract I promised earlier. Well, bright maybe, but not necessarily entirely cheerful. The title “A la Recherche du Temps Perdu” (“In Search of Lost Time”) alludes to the iconic, multi-volume novel of the same name by French author, Marcel Proust, another of my much loved and venerated gay heroes.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/19-Alarecherchedutempsperdu.jpg)
A la Recherche du Temps Perdu
This is Marcel Proust. If ever they make a film of his life (and what a brilliant film it would be), they should look no further than our Jake to play the lead role. A remarkable resemblance, don’t you agree?
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Proust1-1.jpg)
Marcel Proust
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In my early teens, in high school, I came across a most beautiful piece of music. It was Peter Tchaikovsky’s symphonic poem “Francesca da Rimini: Symphonic Fantasy after Dante, Op.32.”
Wikipedia describes the tragic tale of Francesca da Rimini thus:
“In this fantasia, Tchaikovsky presents a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalized in Dante's Divine Comedy. In the fifth canto of Inferno, Dante the narrator meets the shade of Francesca da Rimini, a noblewoman who fell in love with the brother of her ugly husband. After the lovers were discovered and killed in revenge by the husband, they were condemned to Hell for their adulterous passions. In their damnation, the lovers are trapped in a violent storm but separated from each other, never to touch again. They are tormented most of all by the ineradicable memory of the joys and pleasures of the embraces they once shared.” (my italics = J&E?)
At the risk of appearing trite in the face of Tchaikovsky’s soaring genius and Francesca’s grim despair, my contribution to the tragic tale of Dante’s star-crossed, tragic lovers was to produce this humble gouache. I was 16 and experiencing a terrible despair of my own at the time. I had a major crush on one of the physical education teachers at school. I gave my painting the legitimate title of “Francesca da Rimini,” depicting, as it appears, the hand of Francesca descending into the Inferno. But I have a confession to make. That’s not the real subject of this painting. It was, in fact, painted on the day of my beloved teacher’s wedding. The hand being drawn down into the Stygian Pit is actually that of his bride. Thus was the intensity of my adolescent despair on that fateful day in 1966.
Not many of my paintings survived my youth. Most were destroyed by me years ago. I’m quite ruthless about destroying paintings I deem to be unworthy of survival. Having said that, however, I’ve not been able to bring myself to relegate this one to the flames.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/FrancescadaRimini-1966.jpg)
well I like it...it isn't as 'finished' as your later pics but you can see glimmers...I like how bold and abrupt the colors are..raw...
I just noticed the wedding rings...
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Moving quickly along from my embarrassing revelations of unrequited adolescent lust (blush), here’s the bright, cheerful abstract I promised earlier. Well, bright maybe, but not necessarily entirely cheerful. The title “A la Recherche du Temps Perdu” (“In Search of Lost Time”) alludes to the iconic, multi-volume novel of the same name by French author, Marcel Proust, another of my much loved and venerated gay heroes.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/19-Alarecherchedutempsperdu.jpg)
A la Recherche du Temps Perdu
This is Marcel Proust. If ever they make a film of his life (and what a brilliant film it would be), they should look no further than our Jake to play the lead role. A remarkable resemblance, don’t you agree?
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Proust1-1.jpg)
Marcel Proust
hmmm, it reminds me a bit of the nun portrait....
love the color and energy of this one. particularly like the little 'orbs'...
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/FrancescadaRimini-1966.jpg)
I can see the despair in this hand, interesting the presence of the wedding rings.
Have just listened to the three videos featuring the music by Tchaikovsky, part 2 is the one I like best.
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Moving quickly along from my embarrassing revelations of unrequited adolescent lust (blush), here’s the bright, cheerful abstract I promised earlier. Well, bright maybe, but not necessarily entirely cheerful. The title “A la Recherche du Temps Perdu” (“In Search of Lost Time”) alludes to the iconic, multi-volume novel of the same name by French author, Marcel Proust, another of my much loved and venerated gay heroes.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/19-Alarecherchedutempsperdu.jpg)
A la Recherche du Temps Perdu
This is Marcel Proust. If ever they make a film of his life (and what a brilliant film it would be), they should look no further than our Jake to play the lead role. A remarkable resemblance, don’t you agree?
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/Proust1-1.jpg)
Marcel Proust
Nice, bright colours. I would know it is by you from "the beam of light".
I agree, there's a remarkable resemblance between Jake (or, better still, "lake scene Jack") and M Proust.
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(http://i66.photobucket.com/albums/h257/Ellemeno_2006/madeleines.jpg)
A plate of madeleines for the Proust painter
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(http://neuronarrative.files.wordpress.com/2008/12/proust1.jpg)(http://206.47.170.43/channels/images/jakegyllenhaal_article.jpg)
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well I like it...it isn't as 'finished' as your later pics but you can see glimmers...I like how bold and abrupt the colors are..raw...
I just noticed the wedding rings...
Yep, those dang wedding rings. ::) How does that song go? "It should've been mee-ee!" :'( It wouldn't be the last time this would happen to me. What is it about me that makes men want to run off and marry women? Don't answer that! ;) ;) ;) :laugh:
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I can see the despair in this hand, interesting the presence of the wedding rings.
Have just listened to the three videos featuring the music by Tchaikovsky, part 2 is the one I like best.
Part 3 is my favourite. Why? In a word - Orgasmic! ;D
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(http://i66.photobucket.com/albums/h257/Ellemeno_2006/madeleines.jpg)
A plate of madeleines for the Proust painter
Ooh, Clarissa, those madeleines look absolutely scrummy! And I love the dainty little teacup too. Shall I pour? :)
”I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid mixed with the crumbs touched my palate than a shudder ran though me and I stopped, intent upon the extraordinary thing that had happened to me. An exquisite pleasure had invaded my senses, something isolated, detached, with no suggestion of its origin…this new sensation having had on me the effect which love has of filling me with a precious essence; or rather this essence was not in me, it was me. I had ceased now to feel mediocre, contingent, mortal. Whence could it have come to me, this all-powerful joy? I sensed that it was connected with the taste of the tea and the cake, but that it infinitely transcended those savours, could not, indeed, be of the same nature. Whence did it come? What did it mean? How could I seize and apprehend it?” From the Overture to Swann’s Way, Volume I of In Search of Lost Time, by Marcel Proust.
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(http://neuronarrative.files.wordpress.com/2008/12/proust1.jpg)(http://206.47.170.43/channels/images/jakegyllenhaal_article.jpg)
Excellent match, Paul. Amazing resemblance. :)
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(http://neuronarrative.files.wordpress.com/2008/12/proust1.jpg)(http://206.47.170.43/channels/images/jakegyllenhaal_article.jpg)
Good one!
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This painting was commissioned by my dear friends, David and Craig, and makes up part of their private art collection. They own three of my paintings. The brief they gave me was to paint a bold, eye-catching abstract to hang in their new apartment. Drawing upon my past experience as a calligrapher, I decided upon a bright, textured background upon which their names were inscribed in copperplate script. The title “Gloria in Excelsis David” (Latin – “Glory to David in the Highest") alludes not only to David’s Irish Catholic heritage ("Gloria in Excelsis Deo" from the Mass), but also to the potentially fatal condition afflicting him when this picture was painted in the 1990s. We feared he might be taken from us at that time. Dreadfully ill though he was, David never lost his wonderful sense of humor; hence the gallows-humor reference to his heavenly “in the highest” situation. David is now responding well to new medication and is presently in excellent health.
“Gloria in Excelsis David” is painted in oils on canvas and is 120cm x 90cm (4ft x 3ft).
My challenge to you is to find the names of “David” and “Craig” within the composition of the painting. Can you see their names?
It may be necessary to scroll over --> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/20-GloriainExcelsisDavid.jpg)
“Gloria in Excelsis David”
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/20-GloriainExcelsisDavid-Detail.jpg)
“Gloria in Excelsis David” - Detail
And this is my portrait of David, himself. It is painted in oils on canvas and is 61cm x 51cm (24in x 20in).
It may be necessary to scroll over --> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/21-David.jpg)
“David”
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God, I'm a useless art critic.
I like the paintings but in the abstracts I see something very pretty but not necessarily the things behind it. Ive tried but failed to find David and Craig!
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This painting was commissioned by my dear friends, David and Craig, and makes up part of their private art collection. They own three of my paintings. The brief they gave me was to paint a bold, eye-catching abstract to hang in their new apartment. Drawing upon my past experience as a calligrapher, I decided upon a bright, textured background upon which their names were inscribed in copperplate script. The title “Gloria in Excelsis David” (Latin – “Glory to David in the Highest") alludes not only to David’s Irish Catholic heritage ("Gloria in Excelsis Deo" from the Mass), but also to the potentially fatal condition afflicting him when this picture was painted in the 1990s. We feared he might be taken from us at that time. Dreadfully ill though he was, David never lost his wonderful sense of humor; hence the gallows-humor reference to his heavenly “in the highest” situation. David is now responding well to new medication and is presently in excellent health.
“Gloria in Excelsis David” is painted in oils on canvas and is 120cm x 90cm (4ft x 3ft).
My challenge to you is to find the names of “David” and “Craig” within the composition of the painting. Can you see their names?
It may be necessary to scroll over --> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/20-GloriainExcelsisDavid.jpg)
“Gloria in Excelsis David”
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/20-GloriainExcelsisDavid-Detail.jpg)
“Gloria in Excelsis David” - Detail
argh...I THINK I see a Dav...
love the glittery thing and the moon! Is the painting on its side, Kerry? I see your sig on the side there..
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And this is my portrait of David, himself. It is painted in oils on canvas and is 61cm x 51cm (24in x 20in).
It may be necessary to scroll over --> to see the entire image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/21-David.jpg)
“David”
I am beginning to id your paintings from the eyes! this is very interesting, I have a question but I will take it to Pm so as not to show TOO much of my ignorance... ;)
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God, I'm a useless art critic.
I like the paintings but in the abstracts I see something very pretty but not necessarily the things behind it. Ive tried but failed to find David and Craig!
Kerry, I can only echo what Kelda said.
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This is my most recent painting, completed just a couple of months ago. It is unashamedly influenced by Piet Mondrian’s palette of elementary, primary colours and also by the strict, geometric grid that is so representative of his style. It differs from Mondrian in that the design of this painting is perhaps even more minimalist than a painting by him and also in the impasto application of the paint, which differs from Mandrian’s flat fields of paint and hard-edge line. I love the work of Mondrian. He is one of my favourite modern painters. I hope this humble offering of mine will be seen as a tribute to him, rather than as an act of plagiarism. Certainly, I readily and openly confess to his influence. I call my painting “Seaside Folly.” It is painted in oils on canvas and is 25cm x 20cm (10” x 8”). It may be necessary to scroll to the right to see the complete image.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/22-SeasideFolly.jpg)
And here is where it hangs above my desk at home. This photo was taken today (scroll to the right to see complete image):
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/KerrysDen.jpg)
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It's lovely to see where you type from Kerry! And so neat and tidy.... you put me to shame!
I love this new pic - I just saw it in on fb. I love that you do all sorts of different types of generes of art... not one or another.
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I'm a bit of a neat freak, Kelda. 8)
Glad you like the painting. Yep, I like to experiment with lots of different styles. :)
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Yet another “Ecstasy of Saint Teresa.” Again inspired by the Bernini sculpture of the same name, this painting is rendered in oils on canvas and is 120cm x 90cm (4ft x 3ft).
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/23-EcstasyofSaintTeresa.jpg)
Painted within the composition is this image of the Regina Coeli, a traditional Roman Catholic representation of the Virgin Mary, crowned as Queen of Heaven. It is deliberately painted in such a way as to give the impression that it is collage, adhered to the surface of the paint. It is, in fact, painted within the composition.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/23-EcstasyofSaintTeresa-Detail2.jpg)
Also within the composition is a representation of another madonna and child. This time, not THE Madonna and Child. Rather, it is a painted copy of a photograph of me and my mother.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/23-EcstasyofSaintTeresa-Detail1.jpg)
Here’s the original. I can remember this photograph being taken. I was 4 and Mum was 43. It was late in the afternoon and I can still distinctly remember how displeased I was about having to squint into the bright sunlight while this photo was being taken. Despite that, it is one of my favourite pictures of Mum. I remember she was holding my hand, in an endeavour to get me to wave at the photographer, a family friend. I can even remember the colour of Mum’s dress. It was green. Mum was very fond of green.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/13-FloraKerryWright1954.jpg)
Cross section detail:
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/23-EcstasyofSaintTeresa-Detail3.jpg)
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Hi Kerry,
The Bernini's sculpture seemed to have had a big impact on you. May I ask you why you added the two small paintings, the meaning behind it?
The pic with you and your mother is really beautiful, you look like her very much.
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oooh! I love this one!! And the little photos..
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Hi Kerry,
The Bernini's sculpture seemed to have had a big impact on you. May I ask you why you added the two small paintings, the meaning behind it?
The pic with you and your mother is really beautiful, you look like her very much.
Again the angel has been transformed into a spiraling beam of light (fairy dust), which has its beginning and end where the two mother and child images are located at the top and bottom of the painting. It circuitously envelops (caresses) Saint Teresa in the process.
This picture was painted not long after the death of my mother and I was in deep mourning at the time. It seemed appropriate to me that I should include an image of my own blessed mother in a painting which incorporated also an image of the Blessed Virgin Mary. Specifically, of the Regina *Coeli - the Queen of Heaven. Heaven, where my mother now resided.
Saint Teresa of Avila was a member of the Carmelite Order of the Catholic Church, an Order with which I also have close links. The Carmelites are a Marian order. That is, their primary devotional focus is on the Blessed Virgin Mary, hence her image within the composition. The fact that both blessed mothers are incorporated within the same painting and are mystically linked by the transfiguring band of light (angel) joining them, probably has more to do with the depth of my own mourning at the time, rather than with any legitimate, or otherwise, interpretation of Roman Catholic catechetic doctrine.
* (pron, Chay-lee)
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oooh! I love this one!! And the little photos..
Glad you like it, Kelda. It's one of my favourite photos of my Mum.
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This is a portrait of my friend Jim. It is painted in oils on canvas and is 61cm x 46cm (24in x 18in). Jim was born in Sydney, Australia, of Italian heritage. His parents came from the Aeolian Islands, located off the north coast of Sicily. The family has strong ties to Sicily. There is a town in Sicily, located close to the summit of Mount Etna, which bears the family name.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/24-jim-50pc.jpg)
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looks so life like!! like hes going to move!
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looks so life like!! like hes going to move!
Haha, I wouldn't put it past Jim to go "Boo!" right there from the painting if he could, Kelda! It's just the sorta thing he's get a kick outa doing! :laugh:
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Haha, I wouldn't put it past Jim to go "Boo!" right there from the painting if he could, Kelda! It's just the sorta thing he's get a kick outa doing! :laugh:
:laugh:
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I like the pic of Jim. He looks very Italian, and as if he had a good portion of mischievousness, but in a friendly way.
And what you're saying about him fits my impression from the pic.
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I like the pic of Jim. He looks very Italian, and as if he had a good portion of mischievousness, but in a friendly way.
And what you're saying about him fits my impression from the pic.
Spot on, Chrissi. Mischievous is a very good word for Jim. He certainly is very mischievous. He has a wonderful sense of fun and loves to see people laughing and having fun. :D
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Miscellaneous Abstracts . . . . . .
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/26-FortheLoveofAndy-1.jpg)
"For the Love of Andy"
Oils on canvas
20cm x 25cm (8in x 10in)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/30-TehutiTranscendant-1.jpg)
"Tehuti Transcendent"
Oils on canvas
210cm x 120cm (7ft x 4ft)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/31-TheEcstasyofStTeresa-1.jpg)
"The Ecstasy of St Teresa"
Oils on canvas
20cm x 25cm (8in x 10in)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/25-AMetaphysicalIntimacy-1.jpg)
"A Metaphysical Intimacy"
Oils on canvas
20cm x 25cm (8in x 10in)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/27-OsirisResurrexit-1.jpg)
"Osiris Resurrexit"
Oils on canvas
61cm x 92cm (2ft x 3ft)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/28-SelfPortrait-1.jpg)
"Self Portrait"
Oils on canvas
20cm x 25cm (8in x 10in)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/29-SelfPortraitinCMinor-1.jpg)
"Self Portrait in C Minor"
Oils on canvas
61cm x 92 cm (2ft x 3ft)
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/32-TheTransfiguredNight-1.jpg)
"The Transfigured Night"
Oils on canvas
61cm x 92cm (2ft x 3ft)
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Beautiful paintings. Did you paint them?
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Beautiful paintings. Did you paint them?
Thank you kindly, Dev. Yep, all my own work. :D
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beautiful Kerry :) I love the geometric shapes mixed with those wiggly lines. And I love the blend of colours ..... it's pretty hard to blend oils isn't it .... anyway, I love it love it love it .... if you ever get bored of it ... just send it over ;D
Thank you for your kind words, Susie. "The Transfigured Night" was commissioned by a friend a couple of years ago and now hangs in his apartment. You can see my portrait of him titled (appropriately), "David Doyle", earlier in this thread and also another of my paintings he commissioned, "Gloria in Excelsis David". I borrowed all three paintings from David a couple of months ago, to take the photos in this thread, for catalogueing purposes.
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/30-TehutiTranscendant-1.jpg)
"Tehuti Transcendent"
Oils on canvas
210cm x 120cm (7ft x 4ft)
I forgot to mention that a small close-up segment of the above painting, "Tehuti Transcendent", can be seen in the background of my avatar at left. Can you pick what part of the painting I'm standing in front of? It's a large painting of 7ft x 4ft (210cm x 120cm), so that may give you a hint relative to the size of my face in the foreground. ;D
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My favourite is "Self Portrait in C Minor"
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My favourite is "Self Portrait in C Minor"
Glad you like it, Kelda. :-* :-*
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(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/33-Daniel.jpg)
"Daniel"
Oils on canvas
90cm x 60cm (3ft x 2ft)
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oooh! Nice...!
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:-* {{{ Susie }}} :-*
:-* {{{ Kelda }}} :-*
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The latest. I've called it "Poolside." It's in oils on canvas and is 20cm x 25cm (8in x 10in). Framed and unframed.
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/poolside-66pc.jpg)
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/ps1-a-30pc.jpg)
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Hi Kerry,
I have caught up on your paintings thread. I love Daniel's! His hair, the folds on his shirts. Not sure about the Poolside. I much prefer the other abstracts of yours. It is just a matter of personal taste. Why the "Poolside"? What inspired you?
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Hi Kerry,
I have caught up on your paintings thread. I love Daniel's! His hair, the folds on his shirts. Not sure about the Poolside. I much prefer the other abstracts of yours. It is just a matter of personal taste. Why the "Poolside"? What inspired you?
Thank you for your kind feedback, Sel. I'm glad you like the portrait of my friend, Daniel. :)
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lovely!
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Hi Kerry,
Recently I was in Rome and I made a point of going to the Santa Maria della Vittoria Church to see the Ecstasy of St Theresa. What a masterpiece! Of course I thought of you.
I have been to Rome several times but never to that church. According to the Lonely Planet Guide there are 900 churches in Rome - eventually I would have got there I suppose. LOL!
Walking distance from it, to mark the 400th anniversary of his death, an exhibition on Caravaggio has been set up at the Scuderie del Quirinale. Paintings have been brought in from the States, Russia and other countries. Unfortunately I didn't make it there as there was a rather long queue, hopefully next time.
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I'm so thrilled you got to see Bernini's incomparable Ecstasy of Saint Teresa, Sonja. I'm pleased you enjoyed the experience. I'd love to see it myself one day. Until then, the Internet will have to do for me.
(http://img130.imageshack.us/img130/3461/ecstasyofstteresabernin.jpg) (http://img130.imageshack.us/i/ecstasyofstteresabernin.jpg/)
"The Ecstasy of Saint Teresa"
Gianlorenzo Bernini
1645-52
Cornaro Chapel, Santa Maria della Vittoria, Rome
Sorry you didn't get to see the Caravaggio exhibition. I know what you mean about queues. I loathe them! I had planned on making the journey down to the National Gallery in Canberra recently, to see a big French Impressionist exhibition. I heard it had attracted big crowds, so waited until near the end of its run, thinking the crowds may have thinned out by then. Alas, not so. People were camping out overnight to avoid the three and a half hour wait to get in! I knew that standing in queue for that length of time would really stress me out, so I decided against attending. I might have persevered, however, if there'd been some Caravaggios on show!
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There were actually two queues, a rather long one of people who had just turned up, and a much shorter one, still a queue nonetheless, of people who had booked in advance.
http://english.scuderiequirinale.it/mediacenter/FE/home.aspx (http://english.scuderiequirinale.it/mediacenter/FE/home.aspx)
I, too, would have loved to see the French Impressionist exhibition.
I'm so thrilled you got to see Bernini's incomparable Ecstasy of Saint Teresa, Sonja. I'm pleased you enjoyed the experience. I'd love to see it myself one day. Until then, the Internet will have to do for me.
This is not Sonja, it is Sel. :)
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OMG!Q!!!! what lovely paintings you have done. How long have you been an artist, Kerry? I just loved the portraits (the one with you and your mum was amazing) and the abstract paintings were so great. The abstract paintings would do so well in my apartment. :P
have you done any paintings with BBM related theme? :)
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OMG!Q!!!! what lovely paintings you have done. How long have you been an artist, Kerry? I just loved the portraits (the one with you and your mum was amazing) and the abstract paintings were so great. The abstract paintings would do so well in my apartment. :P
have you done any paintings with BBM related theme? :)
Many thanks for your kind words. I've been painting all my life. I can't remember a time in my life when I didn't paint. Studied art at school, majoring in art history and practice in high school. Alas, I didn't pursue art following school, but it always has remained an important part of my life. Undertook some life drawing courses over the years. I see artistic expression as a meditation, be it painting portraits or abstracts, or drawing satirical cartoons. It helps to keep me sane. :)
I've not done any BBM related artwork. But I think you may have just given me an idea. Watch this space! :D
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Many thanks for your kind words. I've been painting all my life. I can't remember a time in my life when I didn't paint. Studied art at school, majoring in art history and practice in high school. Alas, I didn't pursue art following school, but it always has remained an important part of my life. Undertook some life drawing courses over the years. I see artistic expression as a meditation, be it painting portraits or abstracts, or drawing satirical cartoons. It helps to keep me sane. :)
I've not done any BBM related artwork. But I think you may have just given me an idea. Watch this space! :D
I am looking forward to it! :)
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Welcome to
Kerry's Gallery
(http://i119.photobucket.com/albums/o126/kez4oz/Album%202/GeriAshmore-1987-1.jpg)
Like most children, I started painting at an early age. Unlike most children, however, I never grew out of my passion and love for painting and drawing.
Though I have not worked professionally as an artist, my art has never ceased to sustain and nourish me throughout my life. It keeps me grounded and centered. My art provides a place where I can retreat and hide when the going gets tough. A safe refuge. My art is always there for me. When I am painting, time and space cease to exist for me.
I have opened this thread to act as an on-line gallery of some of the paintings I have scanned, and also as a place where I can showcase my new paintings as they are painted. In time, I will be auctioning some of my future paintings on e-Bay.
I have started with the above portrait of my friend, Geri. It is painted in the abstract style I was experimenting with at the time. It is influenced by stained glass window design and by the painting style of Amedeo Modigliani. It is executed in French Conte pastels on stretched canvas with highlights in oil paint. It is 90cm x 60cm (3ft x 2ft) in size.
I hope you will enjoy my gallery. You are very welcome to visit at any time, to see more of my paintings as they are posted.
Way back in March 2009, I started this thread with the above post, depicting the portrait of my friend, Geri.
A few minutes ago, I received a phone call, notifying me of Geri's death.
Geri was diagnosed with cancer just before Easter this year. She was attached to a morphine drip three weeks ago and placed in a medically induced coma last week. She died at 1.15 a.m. today, Monday 26 July 2010 AEST.
Her funeral will be a Requiem Mass in Hobart, Tasmania, which will also be attended by a local convent of Buddhist nuns and representatives of the local Russian Orthodox Church community.
Geri was a beautiful, gentle, compassionate person, who will be greatly missed.
Rest in Peace, Geri.
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I'm sorry about the loss of your friend Kerry.
I'm sure you have many good memories of her, hope you can draw comfort from them.
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This last post of yours drew my attention to this thread, which I've never seen before.
I've looked through the whole thread, and I'm in awe at your talent as a painter Kerry!
There are so many beautiful ones among them, and I especially like the portraits! All of them are amazing!
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RIP Geri
:'(
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This last post of yours drew my attention to this thread, which I've never seen before.
I've looked through the whole thread, and I'm in awe at your talent as a painter Kerry!
There are so many beautiful ones among them, and I especially like the portraits! All of them are amazing!
Many thanks for your kind words, Sonja. :)
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Oh Kerry! I am so sorry. I just now came across this!! :'( :'( :'(
Rest In Peace Geri!!!!
Kerry, I am SOOOO sorry for your loss, honey!! :-* :-* :'( :'(
And I'm so sorry for my delay in responding. There's no excuse for it. :(
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Oh Kerry! I am so sorry. I just now came across this!! :'( :'( :'(
Rest In Peace Geri!!!!
Kerry, I am SOOOO sorry for your loss, honey!! :-* :-* :'( :'(
And I'm so sorry for my delay in responding. There's no excuse for it. :(
Nothing to be sorry for, David. I appreciate your caring message. Thank you.
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Kerry, I hadn't visited this thread in a while, so I'm only now seeing that condolences are in order. Your friend Geri sounds like she was quite a special person. I wish you and her other friends and family the best.