Dec. 22

My buddies

Dec. 15

Moonrise Kingdom for Bazaar

Dec. 13

My little Christmas nook

dec. 12 -cayce zavaglia

http://vimeo.com/51107397 (i would have the video up running in this window but it looks like Blogger allow you to upload videos anymore NOOOO!) i met the father of this amazing portrait artist, Cayce Zavaglia, while I was working at anthro a few nights ago (her dad is an artist in wood carvings, himself). he told me about how his daughter transitioned from working with oil paints to sewing with wool thread, (first beginning when she started getting pregnant with her 4 kids and couldn't be inhaling the fumes anymore from the paint). -the result is an overwhelmingly captivating and intriguing way of recreating each unique, undulating surface area and form of her models (i know, because one of the portraits on her site is of her dad). www.caycezavaglia.com, www.coeur-de-larbre.com

Dec. 11th

Cy twombly, (untitled), 2001. Wood, plastic, pulp, and printed paper, plaster, synthetic resin paint, 39 * 40 * 29.8

dec. 5

sorry i've been m.i.a,


well!! the opening reception for the WAAS "Limbo" show was awesome!! I was able to meet a lot of  really great people in the art community here and also was so excited to get to meet all of the other artists; they were all so down to earth and fun to talk with... i made some new art friends!!! :)

like i was saying before with how the paintings for Limbo are made (in keeping with the loose concept of the show), they're responses to my painting, "Fizz" from 5-6 years ago that is dark and rich, simple, with sparsely placed pops of color

i was thinking a lot about my dad when i was making them and i ended up naming them "the other side, 1, ""2, and ""3.
it was ironic that a show that i was able to be in this fall/winter, after my dad's going home to the Lord, has been called Limbo because it really fits in a lot of ways to how my family and me are doing right now. it's a dual meaning for me in that "the other side" is waiting and transitioning (and trying to actually invision) being on 'the other side' of the mourning --and having us here and him there as more of a "normal" state of being for our lives here... Even more so, though, is the meaning for me that he is on 'the other side' and now it is a state of "limbo" for our lives in waiting to be there with him on the other side.
the paintings are dark with areas of beautiful, happy even, colors. the spots of color are separated by tense amounts of space (lonliness and separation); but the areas of colors in those placed spots are blurring in and out and push through the dark areas...not to sound cheesy but its a moment of being suspending in darkness and beauty. --darkness in the acceptance, hardship and pain but beauty in the waiting and faith for what is more than what we see.

nov. 13

The results are in! Pantone is the color of 2013!!! At least that's what fashion designers and bloggers are saying

nov. 13

 

different auctioning stations like this were set up all around the warehouse. 

                                 mine is the turquoise and orange one of the girl-it's lana del rey, i realized last year that given the time restraint of only having 4 hours to make our boards, it's better to do something representational and i thought she'd be fun to draw. it went for $150 in the first hour so that's not too shabby! :)

nov. 10th

 

 Art Conspiracy 8 is TONIGHT!!!! 960 Dragon Street, Dallas.

$10 to get in, benefiting Girls Rook Dallas. 150 Artists, 3 Bands, 

(Burning Hotels, Daniel Hart, and Blackstone Rangers). Hooraw!!!!!

nov. 1

Francesco Locastro, Ubicomp Everyware

oct. 30

My inspiration images for the paintings that will be in the Limbo show at WAAS Gallery:

 

the curator asked that I make some paintings in response to my painting from 2007, Fizz, because it could  mesh well with the theme of "Limbo"

I LOVE:

 

Picasso's "Equestrienne a cheval", (1905) is so powerful in its simplicity. it carries its own presence with its movement while keeping a matter-of-factness' in bold placement of color-simple and beautiful and confident

I LOVE:

 

im still so obsessed with Gaultier's 'religious' inspired clothing...bright, mystic, ethereal but eery sometimes, otherworldly

oct. 29

                                                        Click to Enlarge

oct. 27

this has nothing to do with art but it makes me laugh, my dad would like it:

oct. 22, street artist Sainer goes big in Poland

oct. 16th- AHHH!!! Lisa Frank!!!!!!!!!!

I was so obsessed!- this brings back my childhood!!

 http://blog.urbanoutfitters.com/features/omg_lisa_frank

oct. 16th

ART CON 8 is Coming!!!! November 10, 2012

 ***sorry I haven't posted anything in so long! My husband and I went to Thailand (!!!!!) to visit his sister and brother-in-law...I'll post some pictures of it soon and give some updates as to my progress with getting ready for the WAAS Group show in November...

sep. 27th, jessie parker

Jessie Parker is my husband's first cousin...she's going to be famous for that voice and passion, ..the lyrics...everything.

sep. 25th

I'll get to be one of the artists in WAAS Gallery's first ever juried group show! The opening reception will be November 16th or 17th and I'm going to be making a series of 3' by 5' paintings for it...YA! The paintings are going to revisit the dark color fields that I used to do, but with the looser painting style that I have now. The color field way of painting lends more to the concept of the show that's forming right now. I'll post more once the title/refined concept of the show is established closer to the date. hooray!!
http://waasgallery.com/exhibitions/

http://waasgallery.com/

Sep. 21st-Save a Frank Lloyed Wright home! Sign this petition!!!

Petitioning CITY OF PHOENIX

This petition will be delivered to:

CITY OF PHOENIX

CITY OF PHOENIX: Save the David and Gladys Wright House

by Frank Lloyd Wright Building Conservancy 

 

Please Sign this Petition!!!!:

http://www.change.org/petitions/city-of-phoenix-save-the-david-and-gladys-wright-house 

 

A remarkable Frank Lloyd Wright house in Phoenix is under threat of demolition. Wright designed the house for his son David and it is unique among all his residential designs. Your support is needed to urge the City of Phoenix to approve historic preservation designation for the house thereby extending its temporary protection from demolition.


Update
A VERY POSITIVE STEP! On September 17, 2012 the Historic Preservation Commission of the city of Phoenix voted unanimously to recommend landmark designation for the David and Gladys Wright House. That is the first of three bodies that will provide recommendations before the City Council makes the decision on November 7. The Historic Preservation Commission’s recommendation is key to support for landmarking the building but the recommendations from the Camelback East Village Planning Committee and the city’s Planning Commission (on Oct 2 and Oct 9 respectively) also are extremely important. The Conservancy and its local partners continue to work to secure these additional recommendations and to secure City Council approval of landmark status. Landmark status means any demolition permit would be delayed for three years. Critical to our efforts are more signatures on the petition – please sign today and ask your friends and associates to help save this house by adding their voices. The numbers signatures are reported to these bodies and they do have an impact! In the meantime the Conservancy is also in discussions with potential buyers.

Background
One of Frank Lloyd Wright’s most innovative, unusual and personal works of architecture. Built in 1950-52, it is the only residence by the world-famous architect that is based on the circular spiral plan of the Guggenheim Museum in New York, whose construction followed it by six years. When the house was first published in 1953, it was stated that no other Wright house since Fallingwater was as praiseworthy and remarkable. Since then its reputation has only increased and several architectural historians and architecture critics consider it to be among the 20 most significant Wright buildings. The spatial design, the processional movement through the patio and along the spiral ramp, the custom-designed concrete-block detailing, and the total interior design all give this house a spectacular expression especially appropriate to the desert environment.
                             -Neil Levine, architectural historian and Harvard professor

When it learned in May that the house had been purchased by developers who had indicated their intention to bulldoze the structure and build two “luxury homes,” the Frank Lloyd Wright Building Conservancy requested the City of Phoenix to grant historic preservation and landmark designation to the house. A number of local organizations, including the Arizona Preservation Foundation and the Phoenix chapter of the American Institute of Architects, as well as national organizations such as the National Trust for Historic Preservation and the Society of Architectural Historians endorsed the Conservancy’s appeal. In mid-June the city’s Planning Commission voted unanimously to initiate consideration of a preservation designation, an action that triggers a delay in approval of a demolition permit. However, such a delay is only temporary.

For this reason the Conservancy and its preservation partners are mounting a campaign to find a suitable, preservation-minded buyer or buyers for the property and working to urge the Phoenix City Council to approve landmark and historic preservation designation for the house. Consideration of this designation by various commissions is scheduled now and through November when it will reach the City Council for a decision.

For almost 40 years no intact Wright building has been intentionally demolished. The Conservancy works every day to avoid deliberate destruction or demolition by neglect of Wright’s built work.

Wright is widely considered to be America’s greatest architect. In a remarkable career spanning over 70 years, he created over 1,100 designs, more that 500 of which were built. His buildings have been recognized internationally as among the most significant structures of the 20th century. He created a modern building aesthetic that powerfully affected the course of architecture around the world as well as in the United States, inspiring generations of architects. His body of work constitutes an irreplaceable cultural treasure. The general public often assumes that Wright’s buildings are protected legally or are untouchable due to the significance of his work in the development of modern architecture. Periodic threats to Wright buildings, such as the current one to the David and Gladys Wright House, demonstrate that is not the case.

Please make your voice heard and urge the City of Phoenix to approve landmark and historic preservation designation. Approval will ensure that no demolition will take place during a 12-36 month period (depending on what level of designation is approved) and allow time to develop a long-term solution to preserve this important piece of architecture.

Loss of the David Wright House would be tragic – an irreparable blow to architectural preservation and Wright’s legacy. Please join us by signing the petition today!

For more information visit the Conservancy’s website.

The Frank Lloyd Wright Building Conservancy, a Chicago-based preservation organization founded over 20 years ago, works to preserve all of Wright’s built designs.

CITY OF PHOENIX

sep. 13th

Chloe Fall 2012

Prabal Gurung

september 11

I just started working for Charles Kendrick & Co.. They are model makers and what they make is INSANE!!!! I'm so excited to get to work with them and help in any process of making their models. ...They have some framed photography on the walls of their studio and I thought they were photos of skylines and large cities-  they are photos of their freaking models!!! 

here's an article that was in D CEO Magazine:

Model Maker Crafts Small-Scale Depictions of Large-Scale Construction Projects

If he builds it, developers will come. Charles Kendrick & Company manufactures the beautiful, precise, minature depictions of what will be.

by Trey Garrison
Published 6.21.2007
From D CEO JUL-AUG 2007

DiscussEmailPrint

Charles and Susie Kendrick are a husband-and-wife team that works well together. portrait by Kevin Hunter Marple

Ask Charles Kendrick how he machines a 1/64th-scale golf cart from a single piece of material, or renders the texture of a model building so realistic it even shows the minute, real flaws inescapable in large-scale construction, and he just smiles like the Cheshire Cat.

“I do it very well,” he says.

For a man who so loves sharing his passions of design, art, and construction, and whose biggest thrill is the unveiling of one of his masterpieces before an audience, getting answers on the how of what he does is like asking a Southern lady her age—you feel a little embarrassed, and he deflects it with deft poise.

The models that Charles Kendrick & Company craft—“build” is far too small a word—are the magic totems that open investors’ wallets and ink the stamps of zoning boards. Before clients or critics see multimillion-dollar skyscrapers erected or the last available stretch of beach get developed, the money men and the civic bodies want to see those architectural renderings come alive. That’s where Kendrick’s work comes in.

“It takes it from the ‘maybe’ world to the ‘real’ world in a way no other representation can,” he says. “When there’s a lot on the line—as there is in the top projects—you have to bring an idea into reality in a way that people can connect. A model on the level we do it draws people in.

“Everyone in development has seen thousands of renderings and elevations. This,” he adds, motioning to a model of a beach high-rise on the Florida panhandle so compelling a viewer can imagine the very sand that somehow makes its way to the balconies of the top floors, “this creates something magical between the viewer and the model. It’s something that you can feel and touch and put yourself in. This is what makes or breaks deals.”

“People can walk around the model and it really invokes interaction,” says Andrew Flanigan, design manager for architecture firm Jonathan Bailey Associates. “It makes a huge difference in winning contracts. Not only do we give the model to the client, they end up using it for marketing purposes as well.”

Kendrick has been leaving models in his wake since growing up in Arkadelphia, Ark. The son of an Army veteran who married a West Berliner, he had early access to highly detailed sculptural models only available in Europe at the time, which stood in stark contrast to what he could find on American toy store shelves. So he did what any obsessive boy would do before the Internet—he made his own models. He built everything from train sets to a replica of his hometown, down to the last detail. He studied architecture at Louisiana Tech where a professor and a group of students were commissioned to build a replica of Shreveport—from scratch. It wasn’t hard to tell where his calling was. In the early 1980s, he moved to Dallas and worked for a number of architecture firms, primarily building models. He was inspired by master model maker David Gibson, and during the down cycles in the commercial real estate market here, he found work in other places—San Francisco, where he met his wife, and even Bali, where in addition to his modeling work he was commissioned by the Balinesian royal family to produce a videography of the disappearing Balinese culture.

Charles focuses on details of a model of Fellowship Church in Grapevine. model images provided by Charles and Susie Kendrick

So what deals have the Kendrick models made, or are they making now? T.D. Jakes’ Potter’s House, for one. Over in Laguna Beach, Calif., there’s the Montage, an opulent destination hotel and spa, where the décor and architecture blend seamlessly with the artistic heritage and the raw, rocky seascape. (Kendrick got to live there on the beach for months while doing his research—rough life.) There’s the Beau Rivage, a spanning MGM casino hotel in Biloxi, Mississippi.

And of course, there’s that little local undertaking: the Trinity River Corridor project. For that one, still in its earliest stages, he’s producing a living reproduction of the corridor from the Hampton Road Bridge to the junction of 175 and South Lamar, including the surrounding commercial developments downtown and in Oak Cliff. Every building, water feature, bridge, tree, and proposed parkway will be rendered at a scale of one inch to 150 feet. The Trinity model is in its most basic stage as of mid-May—scaled satellite maps mark the boundaries, and just five of the buildings on downtown’s skyline are vertical—one is fittingly enough a perfect little reproduction of the Bank of America tower, the tallest in Dallas.

These days, because he usually only works one major project at a time—making anywhere from $200 all the way up to $900,000 per project— Kendrick spends his mornings photographing every building along the 20 miles the model will cover. Mid-morning to afternoon is spent practicing his secret techniques for rendering reality from epoxy and plastics and machine-tool programming. His wife Susie, who has an art degree from the California College of Arts, details the parks, water features, and the Great Trinity Forest. Evenings again find him depicting the streets and buildings and features. His photo files alone would be worth hundreds of thousands of dollars to future historians, if not contemporary developers.

On a sunny spring Tuesday morning he shows a guest around his expansive studio, one of the last going south on Oak Lawn in the warehouse district just before the road hits the levy. It’s immaculately well-organized and primarily a two-person shop, though he hires top model contractors on a project-by-project basis. The studio’s contents are as diverse as you’d expect from someone who boasts of stealing techniques and technologies from every imaginable industry. After all, it’s a never-ending battle to keep his centuries-old craft alive and relevant in this age of CGI, ersatz holography, and three-dimensional computer renderings. Here and there are CNC machine centers he’s coaxed performances out of that have stumped professional machinists. Over in a corner is a dentist-inspired precision water tool for clearing between slates in a pool lounge chair smaller than a pinky nail. Trays of various miniature flora await assembly, each arranged by species and accompanied by encyclopedia printouts of the characteristics of the different plant types. The latest Mac- and PC-design stations line the main room, working in tandem. Jeweler’s tools, surgical instruments, lighting equipment, and an array of paint sets that would confound the boys at Testors all await Kendrick’s hands or Susie’s, the master model landscaper. Indonesian music plays on an iTunes playlist in surround sound.

A sample of Charles Kendrick & Company’s models: The Potter’s House in Dallas. model images provided by Charles and Susie Kendrick

“Oh, we spend 16-hour days in here sometimes. This isn’t our work. It’s our passion, and we recognize how very lucky we are to get to do something we love so much,” Charles says.

A photo album—his own work and another of his passions—documents his best models. They are shot on film, not retouched or computer-enhanced. “I supply the models, God supplies the sky,” Kendrick likes to say.

Kendrick’s ability to adapt new technologies to his craft is at once a blessing and a curse. In addition to his having to be an architect, an artist, a machinist, a programmer, and a photographer, he has to be a little bit of a psychologist and a little bit of an illusionist. Every new model is that much more realistic, and he knows that therefore every evolution makes any flaws stand out all the more. To the mind of the viewer, such a flaw is as noticeable as a boom mike dropping into frame in the middle of a movie scene. Instantly, the illusion can be erased. 

“I really enjoyed this,” Kendrick says of his first interview for any publication. But his joy is overshadowed by anxiety. The kid has been kept away from his toys for too long. Besides, “that Bank of America Tower model needs to be glued together.”

september 1st

I got to volunteer for the Art Con event, RZN8, (that was this past saturday), on last friday night. I made the band line up list...my hand got tired by the time i got down to the last line where it's crooked haha. the little twitter bird finished my hand muscles off

aug. 22nd

looks like a girl i'd worked with at anthro went somewhere awe-inspiring and INCREDIBLE today. just looking at a photograph of it is wonderful, i cannot imagine how beautiful it is to be there in person

aug. 21st

I'll be one of the featured artists with paintings up for auction! This event benefits disadvantaged, handicapped and terminally ill children.  This Saturday, Aug. 25th from 7:30-11:30. Frontiers of Flight Museum, Dallas. Get Your Tickets!!!!!

aug. 20th

http://www.flickr.com/photos/waasgallery/sets/72157631102637978/

pictures from Drew Merritt's "Chiaroscuro" show opening at WAAS Gallery (deep ellum/dallas)

aug. 17th

my favorite dress this week from project runway. I LOVE it

aug. 10th

***
my sweet and awesome dad passed away exactly 2 weeks ago, today. though, I am absolutely confident he's, as Christ promised, in the place that's been prepared for him (in the Lord's house), i still have to mourn the fact that i won't get to see him until i pass away, too. my good friend called me today that's also an artist and we were talking about my dad and she all of a sudden started saying wants me to paint and that inspiration doesn't necessarily come from a happy or always upbeat place. i hadn't told her that it's been a number of few weeks, honestly, since i've created much of anything (kind of understandable, but still); but today, i made the first layers of a very large painting (3' by 5'). my dad didn't really get the 'abstract' or 'impressionist feel' thing... (he lived the first half of his life in the south-)and he'd always say in a thick accent, "why don't you make a paintin' of a lake with trees and some COWS?!" haha...dad. but what he did say consistently about my artwork is that he always loved the way i lay out color :) when i work on this painting, i'm going to draw inspiration from my dad and what he would like

july 24th

july 21st

my buddy, Kelly Voyles' art show!!!!! if you're in Atlanta, you HAVE to go!!!!!

..working on a piece for the MAC's "Trans-" member show, will post picture later :)

july 18th-camille seaman: her photography sends chills down my back. no pun intended though

especially this one, WOAH. it kind of makes me sick but i cannot stop looking at it.

the compositions are gorgeous; but most importantly, i think, the photography makes you feel the cold and the isolation and absolute awe of what it would be like to be there

july 13th

Eugene/ 'Gene' Matthews

he has a beautiful and powerful painting called "Mesa" at the Mayo Clinic in phoenix, (a different one from this one above; "mesa" has red and orange tones); i can't find much about this painter other than that i think he was born around the 30's. i might try to take a picture of the mesa painting in the next few days

june 28th

i just found out i'm going to get to be one of the artists represented at the annual Love for Kids, Inc. event, Palette to Palate!!! (I'll be there in connection with WAAS Gallery in deep ellum). Love for Kids, Inc. is a Dallas-based charity that helps disadvantaged, terminally ill, and handicapped children. I'll donate one painting and have up to 5 other paintings up for auction. It'll be on Saturday, August 25th from 7:30-11:30 pm. i'll post more info later on

http://palettetopalate.org/

june 26th, gerhard richter

june 19th

me and morris, we made this painting/mixed media piece for Best Buddies Texas' Life is Sweet event (Wed, June 20th, 6:30-9 at CityPlace off 75 and Haskell in Dallas)

june 7th

Monet, The Cliffs at Etretat, 1885

I got to see this! -this past weekend at the Age of Impressionism, Great French Paintings from the Clark at the Kimbell in Ft. Worth. BEAUTIFUL, the colors glow in it, sigh, it is wonderful

june 1st

my good buddy kelsey told me about this site called "what is dallas" ( http://whatisdallas.com/ ), and now i have a little bubble in it, too! :) (yip!) i was looking at the creator's own site/blog and he's an illustrator and designer-but what really interested me was that he has sections of his blog where he talks about his faith -in relation to his work or just about faith in general. i really identified with his post the week of may 22nd:

"On Faith

My heart is so full of thanks. Not just for all that I have but for all the people around me. I love the relationships God has given me to invest in and be invested in by. It really opened up room in my heart when I realized I don’t have to be friends with everyone, but instead could choose to invest my time to those closest to me.

I’ve been learning a lot about boundaries this year. Where and how to draw them is sometimes difficult. I’ve had my feelings hurt by other peoples boundaries simply because I didn’t understand the importance of them at the time. But seeing the value of protecting your heart and who you choose to share it has been really rewarding to me. To put it simply, I’ve given up trying to please everybody and instead just focused on being myself and being open with those closest to me."

this is what i think my mom has always told me about when she tells me about "the freedom of Christ"-that you don't have to try to take on too much or try to juggle everything and everyone and their everything-because you cant (and i can't);  i admit its a huge struggle for me. but we-or, hello, i- need to give it up and admit God's the only one that can carry me. from that then we can actually start to pour into the people He's planned for our lives- and in a way that has substance and sincerity. - i think when i try to take on too much and please everyone, really, it's more for me and trying to stay in people's good graces, ( and be a people pleaser) and keep up a good image of myself for them- basically, it ends up being all for me- and it absolutely cheapens those relationships. i like where the site designer said above that he wants to focus on being himself and being open w those closest to him. -it's such a liberating idea. why are we living if we're just in this dreamland of "all we accomplish, all on our own strength and 'look at how effortless i make it look' " when that's not reality at all

may 30th- inspiration images going into my new series

                        

Mark Bradford

Cy Twombly

                            

Cande Aguilar

                             

Mark Bradford

                         

some whimsy or curiosity -combined with feelings of isolation and intangibility

               

 it's okay to me that my paintings are almost always telling that they're made by a female- and with that femininity i want to express quirkiness, confidence and abruptness