Linda Mariano, Editor-in-Chief

Artist Pedjman Mohammadi’s collection is a breathtaking fusion of creativity and sustainability, transforming plastic waste into stunning abstract art. Each piece is meticulously crafted from recycled materials, merging eco-consciousness with aesthetic brilliance.

Pedjman’s artistic vision breathes new life into discarded plastics, turning them into unique, visually captivating artworks. His artwork offers a diverse array of colors, textures, and styles, ensuring there’s something to inspire every art enthusiast.

Art Business News recently met with Pedjman to learn more about his career and his amazing works of art.

ABN: Let’s start at the beginning — tell us a little bit about how and when you decided to make art your career.

Pedjman: I’ve been painting since 1995, but I started painting full-time just last September. Being a father of an 11-year-old, the future of the next generation is very important to me. My daughter is a very focused environmental individual:  she gathers plastic and tries to recycle just about anything. So this last September, I decided to team up with her and try to work as much as I can with recycled materials to create my art. And that’s how everything started. Then I connected with Redwood and Artexpo New York to create my first exhibition in April, and the rest, as they say, is history.

ABN: One of the most intriguing parts about your work is that you’re not just using environmentally correct products to create the work, but you’re recycling things and incorporating them into each mixed media piece of artwork — and in some very interesting and compelling ways. When it gets down to the day-to-day of creating, what is your work philosophy and how does that impact your work on a daily basis?

Pedjman: Let’s see. Part of my timeline was living in Japan, part was living in Vienna. Living in those two countries informed me how to pay close attention to nature, recognize art, and pay attention to the environment around me. And that is essentially who I was and who I am. Those two experiences in my earlier life are still a big influence on me today. And then, the rest is really trying to be an environmentally conscious individual. I try to recycle as much as I can. I do believe there is a bridge between creativity and sustainability, and I can form plastic and create art and deliver that to my audience.

ABN: And the pieces you create are definitely show stoppers, not only from a size perspective, but they are dramatic and compelling. Let’s switch topics just a bit and ask you to think about people that you’ve talked to, people that you know, or people that you’ve read about. What’s the best advice that you’ve ever gotten, and how has that impacted your success?

Pedjman: Best advice I received was really from Redwood Art Group. I decided it was important for me to come to an art fair and present myself. I wasn’t expecting anything out of that experience. I just wanted to know where I stood i respect to today’s art business and art culture. Really listening to the advice I got, everything that Eric told me about price point and how to deliver myself to the visitors at the fair really helped me. Listening about marketing piece and how to put my booth together and curate my artwork to make the best impression really helped me to showcase and position each piece for the audience. I would say the best advice I received was really from Redwood.

ABN: Well, thank you. Wow! I wasn’t expecting that. So what do you do to market yourself and your art?

Pedjman: I leverage Instagram daily. I share my work and my daily work process on Instagram. I try to get out there as much I can, join art events as much as I can, and go to art galleries as much as I can. I think seeing art and speaking to people helps to create connections and relationships.

ABN: Making connections is so important. Whether it’s being at art events, whatever they are, really being present and working it. When it’s a first time, like one of Redwood’s fairs or even getting your work in a gallery, it’s important to remember it’s also the first time the work is being seen by that audience. So you might not sell anything, but it’s the networking and creating connections that can lead to amazing outcomes. Those connections build one on the other — and that’s how you start to establish yourself with a base and as a career artist.

Thinking about that, what has been your greatest success in terms of building your career and your client base?

Pedjman: That’s sort of a challenging question because I’ve really only been in this full time for less than a year. My greatest success really started at Artexpo New York. Like I said, I didn’t have any expectations, just wanted to see where I stood. It was remembering the small things, like “Hey, stand up in front of your booth.” It was one of the things that really captured everybody’s attention and drew them toward me, and I was able to talk to every single person. There were so many conversations that opened doors in all different aspects. In the fair, I was able to sell three of my pieces out of ten that I presented. 

But then so much came after based on all of the connections that I gathered — I got commissions after commissions, two weeks, four weeks after. And it was a joy for me to be able to listen and execute on everything Redwood had advised me. And it worked. Even my Instagram account, I started with 250 or so followers when I was in Artexpo New York. today I have nearly 4,000!

All of these small things might be small, but it was a big, big victory for me as a beginner. And all of those are the things that really work. And I try to stick to those things, over and over.

ABN: What you’re really talking about is building blocks. It’s building a foundation, no matter what you’re building — you’re building a house, you’re building a career, you have to have the foundation, then you can stand on that foundation and it’s solid ground.

Just one more question. Any particular advice as an emerging artist that you would give an aspiring artist?

Pedjman: Well, I would say be honest with yourself and be consistent. Do what you’re doing day after day. Get out there, and build relationships. I think that’s the most important piece of the puzzle. And not only that, maintaining that relationship is very important. This means that whether you gather a phone number or an email address, reach out to those clients and individuals when you have events coming up. Enjoy the ride. Try not to stress and enjoy the experience, set the tone and set the mood. I think everything starts with the attitude — when the attitude is right and the attitude is out there it creates a positive vibe that captures attention. I think that’s very important. And I’ve experienced it first hand. So that would be my two cents.

ABN: You are so right! I think one of the things that has attracted your success is that if you are enjoying what you’re doing and you have a positive attitude. Sure, it can be scary. It’s your career, it’s your livelihood. It’s always going to be challenging. But I think you’re meeting the challenge. And congratulations.

And, Pedjman, if you don’t mind, we’ll love to check back with you in a year or so and see what’s happened then.

Pedjman: Absolutely, that would be great! Thank you so much!

The post Meet the Artist: Pedjman Mohammadi appeared first on Art Business News.

Q: Introduce yourself — who you are and what is your vision as an artist?

Q: What artist(s) inspire you?

Q: What is the best advice you’ve received?

Q: When you are not working, where can we find you?

Q: What does exhibiting at Art Santa Fe 2024 mean to you?

Art Santa Fe is incredibly important to me. It’s my first time in the southwestern United States sharing my work. Im out of my comfort zone. I have no established base here, no fans, yet grateful to be here. My plan over the past two years is to get out of my Florida comfort zone and start growing in other areas. Santa Fe was a perfect match. I’ve put a ton of heart into the Kress Collection Gallery.

You can find my art and journey on Instagram @mattkressart and website https://mattkress.art

The post Meet the Artist: Matt Kress, The Kress Collection Gallery appeared first on Art Business News.

The large-scale sculptures I create embody a dichotomy: the aspects of myself unveiled to the world and those concealed within. Through these works, I invite viewers to delve into their shadow selves, dissecting personal experiences and emotions to uncover their own meanings within the forms. 

My work as a sculptor revolves around this exploration of duality, demanding a level of physical engagement that is both exhausting and exhilarating.  

I am in perpetual metamorphosis, constantly deconstructing and reconstructing, transforming trauma and captivity into physical forms that embody an incarnation of freedom. 

Every piece I create is a reflection of my life, both literally and figuratively. Wielding chainsaws, chisels, sledgehammers, and sanders, I tell my story—a visceral form of communication. It is a journey of discovery where each cut and strike reveals something new and unexpected, subliminally guiding the physical process of creation through destruction. 

This intense physicality channels a powerful, primal expression of energy and intent that I’ve only recently felt free to unleash.  

I have found that my purpose is to use art to amplify my voice and my goal is to dismantle societal barriers. Continuously learning, I embrace the judgments that come with presenting my diverse and authentic self. By passionately engaging in various forms of self-expression, I aim to challenge the traditional narratives that confine women to singular roles. 

I’ve never understood why people can’t grasp that someone feminine can also be fiercely powerful. Society often perpetuates a narrow definition of strength, associating it with traditionally masculine traits and overlooking the profound power inherent in femininity. This misconception diminishes the complexity and depth of feminine strength, which can manifest in countless ways—from nurturing and compassion to resilience and fierce determination. By embracing a more inclusive understanding of power, we can recognize and celebrate the dynamic capabilities of those who embody both femininity and strength. This duality should be seen as a source of empowerment rather than a contradiction. It is essential to challenge and change these outdated perceptions, fostering a culture that values and respects the diverse expressions of power in all individuals. 

Through my work, I strive to create a platform that encourages people to explore and celebrate their multifaceted identities without fear of criticism or limitation. This involves not only creating art that speaks to these themes but also participating in discussions, collaborations, and community initiatives that support and uplift women’s diverse contributions. My goal is to inspire a cultural shift where women’s diverse talents and ambitions are recognized, respected, and celebrated, propelling the conversation forward towards a more inclusive and equitable society. 

Leading with this theme, I named my first series of sculptures “Emergence,” depicting the body’s ascension from the depths of traumas dark waters, highlighting curves as they rise towards the light of freedom. To carve these models, I used raw, industrial materials typically seen as harsh and inflexible. I manipulated these to create feminine, refined forms. This juxtaposition challenges the traditional use of art mediums, particularly when modeling for large-scale sculptures, where softer, more conventional substances are often preferred. The result is a body of work that represents the tension between strength and fragility, exposure, and concealment.  

This year, each exhibit represents not just a culmination of my efforts but a dynamic milestone in my ongoing exploration of artistic expression, as I showcase my work in Monaco, Madrid, and Miami. These sculpture projects embody my commitment to continually evolve, refine, deconstruct, and construct my work.  

As I prepare for these upcoming exhibitions, I am excited to share my latest creations with a diverse international audience. Each venue offers a unique opportunity to connect with people from different cultures and backgrounds, fostering a global dialogue through my art. I look forward to the inspiration and insights that these experiences will undoubtedly bring, further fueling my passion for art and its power to transcend boundaries. 

In my creative process, I constantly push boundaries by experimenting with new tools, techniques, and scales. This relentless pursuit of innovation allows me to infuse fresh perspectives into my pieces, ensuring that each creation is a unique reflection of my artistic growth. Whether I’m working on a delicate, intricate piece or a monumental sculpture, I immerse myself in the physicality of the process, channeling energy and intent into every detail. 

My approach is not static; it is a living, breathing evolution of ideas and forms. By deconstructing traditional methods and reconstructing them in novel ways, I challenge both myself and my audience to see art from different angles. This continuous cycle of creation, social examination and experimentation consistently keeps my work relevant, allowing me to engage deeply with contemporary themes and push the conversation forward in the art world. 

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Author’s bio: 

Constantin Ford is a contemporary artist specializing in the transformative process of ‘subtractive sculpting’ whose work has been showcased across Europe and the United States. Ford meticulously carves a variety of materials to unveil abstract feminine forms. In her artistic exploration of the shadow self, she often tears the female form in two, symbolizing the contrast between materialized and conceptualized reality. Through these contortions, she conveys the complexities and dualities within the human experience. 

Ford studied Art and Design at the New York University’s Fashion Institute of Technology (NYU FIT). She draws inspiration from nature and a diverse range of influences including Egon Schiele, Constantin Brâncuși, Georgia O’Keeffe, Lucien Freud, Jean Arp, Francis Bacon, Salvador Dalí, Louise Bourgeois, and Zaha Hadid. 

 Learn more at https://www.artsy.net/artist/constantin-ford  

The post Art of Empowerment: Redefining Strength Through Sculpture appeared first on Art Business News.

Thriving Art Scene in Miami 

Budding artists can relocate to Miami for its thriving art scene. The city is known for its dynamic galleries, studios, and art spaces. Popular art districts like Wynwood and the Design District are filled with murals, galleries, and creative hubs. Also, Miami Art Week held annually in December draws artists and art lovers from around the world, making it an ideal event for networking and inspiration. These districts offer a platform for new artists to display their work and connect with influential figures in the art world. So, with such a rich and supportive environment, Miami provides an excellent backdrop for artists to develop and showcase their talents. 

Art Basel and Major Art Events 

Another reason artists love Miami is that this city is home to major art events like Art Basel Miami Beach. This world-renowned event attracts galleries, artists, and collectors, providing a huge platform for exposure. Alongside Art Basel, other significant events like Art Miami and Spectrum Miami also offer opportunities to showcase work and meet influential people in the art industry. These events are great for networking and gaining inspiration from diverse art forms. That’s why participating in or even just attending these events can help artists stay updated with current trends and connect with potential buyers, collaborators, and mentors. 

Supportive Art Community 

The city is known for its various artist groups, associations, and cooperatives that offer guidance and resources. These groups often host events, exhibitions, and workshops to help artists grow and connect. However, behind the art, every artist has a unique story and journey, and there are many opportunities to share these stories and learn from others. Being part of a supportive network allows artists to exchange ideas, find inspiration, and collaborate on projects. This supportive environment can make a significant difference in an artist’s career, providing both professional and personal growth. 

Art Education 

The city offers a range of institutions and programs that can help artists develop their skills. So, here are some key options: 

• New World School of the Arts: Offers high-quality programs in visual arts, dance, music, and theater. 

• Miami International University of Art & Design: Provides a variety of art and design courses, including fine arts, graphic design, and photography. 

• Workshops and Continuing Education: Various local art studios and organizations offer workshops and short courses to help artists continue learning and improving their craft. 

These educational opportunities provide valuable training and resources, helping artists to refine their skills and advance their careers in a supportive environment. 

Inspirational Environment and Resources 

Artists enjoy Miami because the city’s cultural diversity and natural beauty provide endless sources of inspiration, reminding artists that art is an adventure. Miami’s street art, architecture, and multicultural influences fuel creativity. Additionally, Miami offers a variety of art supply stores, such as Artist & Craftsman Supply and Jerry’s Artarama, ensuring artists have access to the materials they need. These factors make Miami an ideal place for artists to live, create, and grow their careers. 

Opportunities for Artistic Collaboration 

Budding artists should consider moving to Miami because the city offers numerous opportunities for artistic collaboration. Remember that working with other artists can spark creativity and lead to exciting projects. And in Miami, collaboration can take many forms: 

• Art Collectives: Join local art collectives where artists share ideas, resources, and opportunities. 

• Collaborations with Businesses: Partner with local businesses for murals, interior art, and other projects that promote both art and commerce. 

• Public Art Projects: Participate in public art initiatives that allow artists to showcase their work in public spaces, enhancing the city’s cultural landscape. 

• Workshops and Events: Attend and host workshops or events to connect with other artists, exchange techniques, and create joint works. 

These collaborations can help artists build their networks, gain exposure, and grow professionally in a supportive environment. 

Career Growth Opportunities  

The city is home to numerous galleries, art fairs, and commercial spaces that provide platforms for artists to showcase their work. Events like Art Basel and Art Miami attract international attention, helping local artists gain exposure. Miami’s art market is also thriving, offering various opportunities for artists to sell their work and build their reputation. Collaborations with local businesses and public art projects further enhance career prospects. By immersing themselves in Miami’s dynamic art scene, artists can find the support and opportunities to grow professionally and achieve long-term success. 

Miami – A Haven for Budding Artists 

Miami truly offers a wealth of opportunities for emerging artists! With its dynamic art scene and extensive resources, it’s clear why budding artists should consider moving to Miami. The city provides a supportive environment, access to essential art materials, and various educational opportunities. Overall, Miami’s blend of cultural influences and beautiful surroundings inspires creativity. Thanks to that, artists can find affordable living spaces and numerous chances for collaboration and career growth. Think about it — moving to Miami could be the key to unlocking new artistic potential and achieving professional success in the art world. 

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Author’s bio 

Sarah Johnson is a seasoned content writer at Pro Movers Miami, a family-owned, BBB “A” rated moving company where she specializes in crafting engaging and informative articles about relocation and lifestyle. With a keen eye for detail and a passion for exploring vibrant communities, she brings a unique perspective to the moving industry. When she’s not writing, Sarah enjoys immersing herself in Miami’s thriving art scene and uncovering the city’s hidden gems. 

The post Artists: Is Making a Move to Miami Beneficial for Your Career? appeared first on Art Business News.

Q: Introduce yourself — who you are and what your vision as an artist is? What is your background?

A: A retired architect residing in New Mexico for most of the last 50 years, I am living a lifelong calling, to be a fine artist. I believe we cannot live without art.  Whether it is music, film, dance, or visual art, it feeds our soul. I strive to make art that reaches, touches, and connects us to ourselves and others. I have chosen the language of abstract art, a language like no other, with no dictionary to translate it but is open to each individual’s imagination and interpretation. Unlike architecture, there are no constraints. Total freedom is a refreshing change.

My background significantly influences my art. I was born and raised in Pittsburgh, PA, a place with honest, hardworking people. My dream, even as a young child, was to become an architect. With encouragement from my family, I attended Franklin and Marshall College where I studied art history and perfected studio skills that prepared me to pursue an M Arch from the University of New Mexico. I became licensed and through a very successful and rewarding, 40-year architectural practice, I was able to design a diverse portfolio of projects and achieve a fellowship in the American Institute of Architects. In 2020, I retired and now realizing another dream, to be a fine artist.

Q: What is your work philosophy and how does that impact your work?

A: My architectural training and practice taught me a way of thinking. I value simplicity. I’m fascinated by geometry, strong shape and form. My focus is composition. I’m not a fan of making “wallpaper” by creating amorphous or repetitive patterns. I believe, like a good building considers and organizes both the positive (interior) and negative (exterior) space, a good painting does the same. Regarding color and contrast, the high desert environment of the southwest inspired and awakened my creative sensibilities. What can be more visually powerful than an orange sky with purple clouds? Or the lush green, life-filled forest of the Rio Grande moving through rocky earthen, parched mountains? Those contrasts and others are compelling.

Q: What artist(s) inspire you?

A: I am most inspired by Richard Diebenkorn, a genius in composition and color. Never constrained by formalistic rules, he used the entire canvas in unpredictable ways. He was a master of creating strong shapes and forms. He was not afraid to use any color adjacent to any other. His use of line created movement while also contrasting simple planes of color. Like many great artists, he was a rule-breaker for his time. We know he challenged the status quo at the University of New Mexico when he was there in 1950. No adobes adorned with chiles for him. That inspires me.

I’m inspired by many other artists but most notably, the dramatic work of JMW Turner, the color and techniques of Cezanne, Monet and Matisse, and the boldness and simplicity of Franz Kline. Lately, I am enamored with the spontaneity of contemporary artist, David Mankin.

Q: What is the best advice you’ve received?

A: My architectural training taught me to always say, “What if” never relying on one idea. But the best advice that I struggle to comply with daily tells me to not overthink, to follow my own instincts, and to not be afraid to make an ugly painting. Mistakes are opportunities.

Q: When you are not working, where can we find you?

A: Residing in Albuquerque, you can find me with my family and friends enjoying New Mexico’s scenery and perfect weather. Or traveling to see and experience new places that recharge me.

Q: What does exhibiting at Art Santa Fe 2024 mean to you?

A: I’ve been painting in earnest now for about 5 years. Although I have successfully shown my work locally, I’m exhibiting in Art Santa Fe to finally test the waters with a broader audience. The truth is, that artists are constantly looking for validation. I hope I get it here.

The post Art Santa Fe 2024 Spotlight Artist Recipient: Bill Sabatini appeared first on Art Business News.

Q: Introduce yourself — who you are and what your vision as an artist is? What is your background?

A: My name is Vivienne Riggio, I am a Santa Fe-based sculptor. My artistic journey is a testament to a life infused with observation and the transformation of the mundane into the extraordinary. As a way of manifesting my vision, I fabricate large-scale mythical creatures that connect us to another time, another place.

I draw from my experience in operatic costuming and apparel design and use traditional Southwestern embroidery techniques, sheep’s wool up-cycled paper, and unusual objects.

My desire is that these shaman-like sculptures evoke a departure from conventional imagery to an unfamiliar place of wonder. Ultimately, I hope the viewer connects with that other place, a departure from their day-to-day thinking. For some these pieces take on a lifelike presence and others just enjoy the craftsmanship and appreciate them just as a work of art.

Born in Murphysboro, Illinois, my path to becoming an artist was as intuitive as it was inevitable. From my earliest memories, I was captivated by shapes, images, and designs, finding intrigue and expression in the arts from a tender age. My childhood, characterized by introspection and a deep internalization of my surroundings, laid the foundation for a unique artistic language, which I began articulating through three-dimensional art as early as five years old.

My grandparents emigrated to the US from Southern Italy and eventually settled in the Midwest. Their daily lives, though extreme from what Sicilia offered, gave them sustenance and a sense of belonging to something larger. 

In the late fifties, my parents heeded the California call and settled in the Bay Area, a small town ripening with revolutionary fervor. As teens, my siblings and I drank up the culture outside our front door questioning nothing and everything.

This is a small taste of what I inherited and was exposed to. As a young girl, I stood back and observed family dynamics, Catholicism, and academics and spent much of my time creating unusual art as a way of processing and expressing. It’s been that way ever since.

In my late thirties, I discovered New Mexico after a summer of picking fruit in British Columbia. Once landed outside of Albuquerque, I worked at the state fair, at restaurants, and wrote short stories. After a gig at the Santa Fe Opera as a seasonal worker in the costume shop, my artistic vision leaped toward larger dimensional pieces. I eventually settled in Santa Fe, but not before going back and forth to the West Coast and moving where my work took me.

I dedicated my career to labor rights, traveling to factories throughout Latin America, Asia, and North America, interviewing workers and factory owners. I’m now a permanent resident and live a stone’s throw from the Santa Fe River.

Q: What is your work philosophy and how does that impact your work?

A: The core of my artistic philosophy lies in the genuine, unfiltered interaction with the world around me. Whether I am surrounded by the tranquility of nature or immersed in the vibrant energy of a city, every experience is a wellspring of inspiration. My art is a means of distilling these experiences, transforming them into a language of shapes, textures, and forms that resonate on a visceral level. This process is not just about creation but is a form of communication, a way of sharing my perspective and inviting others to see the world through a different lens.

What motivates me to create is the endless potential for transformation—an object, a piece of fabric, or a fleeting image can become a conduit for profound expressions and conversations. I aim to create art that not only captivates visually but also engages on an emotional and intellectual level, prompting reflection and eliciting a sense of wonder. Through my work, I strive to offer a moment of connection, an opportunity for viewers to engage with their surroundings and their inner selves in new and unexpected ways.

Q: What artist(s) inspire you?

A: Magdalena Abakanowicz for her ingenuity to repurpose and courage to go big. Bette Saar to bring renewed life to the discarded. Louise Bourgeois for her courage to express sensuality and objects that cause a reaction in viewers. Graciela Iturbide- for her photographs of rural Mexican women. Christian LeCroix and Alexander McQueen for their otherworldly fashion

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Q: Introduce yourself – who you are and what your vision as an artist is? What is your background?

A: More than a printmaker, or painter, I think of myself as an image maker. My background is in fashion design and pattern making. I worked in the ‘rag trade’ designing clothing and traveling all over the third world to see how well these designs were put together.

Q: What is your work philosophy and how does that impact your work?

A: I enjoy working in the studio on various media including printmaking and painting as well as collage.  I am drawn to historic female characters; strong women and what I imagine that they would wear.

I create, I do not quantify or measure time, I work until the artwork speaks to me and tells me it is complete. It’s a joyful calling. I know that my audience is the world’s smallest and that I am not attempting a mass-market appeal. I listen to my imagination and I try to stay on a flow that avoids tributaries and tangents. What I ask myself each time I come near completion of an artwork is: is this piece remarkable? That’s how I measure.

Q: What artist(s) inspire you?

A: I am inspired by many of the modernists, especially the Santa Fe and Taos modernists of the early 20^th century. Also, I love to look at ancient manuscripts and illuminations for pattern, and composition. The Ukiyo-e Japanese woodcut print artists are always a delight to look at and I am drawn to contemporary public-art artists such as Shepard Fairey and emerging black artists such as Delita Martin and Bisa Butler.

Q: What is the best advice you’ve received?

A: The best advice I’ve received is from a professor in my Masters Degree program who told me to see more and paint less. On a more business-of-art direction I listen to Seth Godin, Akimbo podcast and find value in his philosophy about the world’s smallest audience and being authentic and remarkable with my work.

Q: What does exhibiting at Art Santa Fe 2024 mean to you?

A: Exhibiting at Art Santa Fe means a lot to me in that it is an opportunity to show with an Event Company that has great experience and a track record of putting on well-marketed and well-designed shows of high-caliber artists. I am hoping to find a small audience of galleries and collectors who are interested in purchasing and representing my artwork. 

The post Art Santa Fe Spotlight Recipient: Ouida Touchon appeared first on Art Business News.

We were intrigued with Mr. Courtney’s story after seeing it go viral on social media and reached out and asked him to tell us about his journey as an artist over the last 50 years. Enjoy!

For more than 50 years, I have worked as a professional artist in both commercial and the fine arts, a painter in oils and watercolors. I am passionate about art, all art, and have been perfectly content with the support and recognition that I have received as an artist which is neither of great significance in the greater world of fine art or outstanding in financial gain. However, one small post, without agenda or intention, has seemed to blow up social media, with criticism, contention, conflict, and at the same time, praise, and respect. On several different platforms, I received over 150,000 likes, over 2,000 comments, and over 1,500 shares.

I posted side by side self-portraits painted in oils, that were done 50 years apart. One is the younger me, 21 years old while a student of the Pennsylvania Academy of Fine Arts. The other is the 71-year-old me, painted after 50 years of painting and noticeably, 50 years of living. I’m an old guy now.

The reactions that followed on Instagram and Facebook were from several levels. They included the juxtaposition of a young man to an old guy, the differences between the 2 styles and which was better, and my skills as a painter-from complimentary to calling me a fraud. Religion, philosophical mumblings, and creepy messages were part of the commentary.

My style provoked a host of comments such as, “It’s a photograph”; “It’s AI”; “Why bother painting this way. Look at a photo”; “Painting realistically is pointless”; and more… Granted, many of these comments were knee jerk reactions, posted anonymously behind the veil of social media, without a thought to qualifying their opinion. It amazes me why some comments were so disrespectful, but that is the freedom of posting on social media.

On the flip side, the complimentary and supportive comments were greatly appreciated. Who doesn’t like compliments? “Incredible.”; “Amazing”; “Wow!”; “This speaks volumes. The growth alone is inspirational.” “It literally says ‘Never give up, keep going and growing.’” “U make amazing paintings.” These are just a few samples from Instagram and Facebook posts.

It is important to provide some information about myself and my artwork. I paint in a realistic style. In my opinion, it is not a photo realistic style. All my work, whether in oils or watercolor, is realistic. It is what I find to be challenging and most personally satisfying. I use photographs as an initial platform for my final intention, as reference for many details like lighting, color, and texture. However, it is my intention to take my painting beyond the photo, editing as I paint, incorporating those details that will enhance the completed project and eliminating those that may clutter the composition and what I am trying to portray. There are some photographs that are best as just that, photographs. I don’t paint what shouldn’t be tampered with.

I am a graduate of The Pennsylvania Academy of Fine Arts in Philadelphia PA, where my focus of study was painting. Following my education, I was employed as a billboard artist for outdoor advertisers in the Philadelphia area. Working on location at heights of 60 to 160 ft, using a scaled drawing as a guide, I painted images realistically for advertisements to be viewed from the passing automobile traffic on the highways below. Billboard painting is now an art lost to digital reproductions on vinyl sheets, stretched over a frame. It was commonly thought that all billboards were posters. In fact, the largest boards were all painted, and only small signs were posted as you would wallpaper. I did not focus on my own artwork until my children were older, some 25 years after my graduation from art school.

It seems natural, that I would pursue a realistic painting style with my own work, which began with watercolors. Of course, there was a slight transition from painting 20-foot-high images to 20 inches, but I made the appropriate revisions. One irony of my story is that now, for the most part, my work is being viewed on a cell phone, approximately 6” x 3”. The average “dwell time” is 1-2 seconds for viewing cell phone images. The average time viewing a billboard while driving in a car is 6-8 seconds.

Each of my paintings is practice for the next. I continuously try new techniques, improving on what I know and have presumably mastered, making small changes to how the compositions move, and hopefully, becoming better at my craft with each painting. I continue to educate myself on the techniques of the masters or those whose work I personally admire. I am inspired by bits and pieces from many sources and each painting has small parts of this learning process. It should also be noted that combined with my art education, which can speak for itself, billboard painting provided a wealth of experience with recreating the illusion of real images with paint. My sole job in this field was to depict an image that was a replica of the real thing so that viewers would think it was a photograph. My ability to seamlessly blend colors didn’t come solely from talent. It is from 25+ years of painting in the air very quickly.

I refer to my education, experience, and intentions as an artist for those who believe my paintings are photographs or AI. They are painted. They are not digital renderings, and I don’t have any experience using AI. For those who don’t care for realism in art, you are entitled to your opinion. I love all art and I appreciate fine composition, unique use of color and materials, skillful technique, and most importantly, the final impact that a piece has on my sensibilities. The parts making up the whole and the story they invoke are a fascination to me, but the final product is the show. Art is my passion. It is what I live and breathe. People like to offer their opinions on any matter, and they have that choice regardless of how those opinions were formed. It would be nice if they would ask more questions beforehand.

Thank you to everyone who participated in viewing my work and making comments.

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Author’s Bio:

Phil Courtney is a graduate of The Pennsylvania Academy of Fine Arts, Phila, PA. Following his education, he was employed as a billboard artist for outdoor advertisers in the Philadelphia area for more than twenty-five years. Phil began showing his own work after moving to Cape May, NJ in 1995 with his wife and children. His work has been shown locally at the former Washington Street Gallery, the SOMA NewArt Gallery, the FAN Gallery in Phila., The Ferry Gallery at the former Ferry Park. His work is also part of several private collections in South Jersey. Phil has also participated in the John Peto Museum International Juried Art Exhibitions. The Nature Center of Cape May featured Phil as their artist in residence for their annual fundraiser in 2019, “Catch of Cape May”. 

Phil has been teaching watercolor workshops for the past several years in the Cape May area and at the Rehoboth Art League. He paints a variety of subjects, indoors and out, using oils or watercolors. He is proficient in both mediums. Phil has developed techniques for capturing the unique atmospheric conditions of the seashore, and the play of sunlight and shadows cast by the intricate details of Cape May Victorian architecture. His oil paintings of flowers capture the very essence of their purity with the freshness of being just picked. They are luminescent and elegant, calling attention to the intricacies, textures, and the collaborating parts of the living whole.

Images all courtesy of Phil Courtney.

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