I paint what I find exciting, be it a mountain, a tree, a group of houses, a flower or whatever. I love color and shape. Everything I paint comes from viewing it and an emotional response to whatever I am looking at.
Most of my paintings are watercolor, but I also mix the use of acrylics, collage, and pastels. Many of my paintings are a combination of all these media, whatever gets my vision across to the viewer. Blending colors and enjoying expressing my emotions on paper dominate my subjects. Anything I can see may inspire me and then I interpret them on paper.
I love to draw and have many, many sketch books filled with the things I have seen from the passenger seat of the car. I usually use my sketches as the basis of a painting. I enjoy blending colors and believe that nothing is a solid tube color and mix my colors on the paper to get the wanted results. Most of my paintings have several versions of the same scene done until I decide on the composition. To me composition and values are the what makes a painting worth looking at.
contact me at email@example.com
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My current work is a direct result of being in Italy when 911 occurred. I was there four days of a month-long stay when the disaster hit. Not being able to go home and upon the advice of the Italian government that Americans should keep a “low profile,” I took my pen and sketchbook everywhere I went instead of a camera and tried to blend into the shadows of places I visited and absorb everything I could with my sketches.
Because of the intensity of the situation, my vision became highly alert and I would catch fragments of everything in sight around me. It felt as if these fragments were flying at me from all directions. These fragmented visions are what I am trying to represent with the watercolor sections of the work.
I begin with a collage of torn shapes and then paint the shapes with watercolor. When I am satisfied with that part of the work, I sketch from life over the watercolor.
I have always been attracted to line in artwork. The sensitivity or boldness of a line draws me in and I want to look beyond the line. I want to see into the surface of the art and into the space between the lines. This is what I am thinking when I make a line on a surface.
I’ve been hand-building ceramics for 30+ years. A local mom and potter, Patti Marcus, handed me my first piece of clay back in 1981. We had met in a newly formed baby group. I took to the medium immediately.
My instincts are kind of contra-symmetry, but pro balance. Builders can go off kilter, but still find balance. The building and shaping aspects of working with clay slab vs throwing at a wheel continues to hook me. (Though, lately, I’ve been “throwing” wedges of clay against hard surfaces and getting some interesting results!) I also like to “draw” in the clay before it dries and working with slab provides that canvas. So far, I’ve only worked with high-fire clays and glazes.
Living in the Santa Monica Mountains all these years, surrounded by Mother Nature, I’ve learned how unpredictable nature is: but, like the clay that comes from it, there’s the possibility of something “ah-ha”, maybe even sublime, emerging from that very same unpredictability.
An early childhood memory of mine starts with looking out from the back seat of my parent’s car traveling from some big California valley to the ocean through California’s coastal mountains. The landscape, rolling hills of grass and oaks, with moss hanging from their limbs, submerging into distant box canyons, captivated me. Almost everything I do in clay, functional or not, is evocative of those early, often mysterious, impressions of California wildlands.
I like to make things that people like to look at and maybe get lost in because they evoke a sense of ancient and perhaps archetypal “place” that lives deep within us all. I also like to have fun and am always experimenting with different ideas, so my personal vision is still evolving.
Toby creates bold, flamboyant landscapes and poignant, reflective portraits, as well as contemporary collage and assemblage works. She began painting as soon as she was old enough to hold a brush and doesn’t remember a time when she was not creating art.
After moving from New York to California, Toby studied with artist Alex Villmusen, she credits him with encouraging her to select bold colors without thinking of the rules. Never being a rule follower in any part of her life, this was the perfect fit, allowing her imagination free reign.
Toby attended Hunter College and Fashion Institute of Technology, both in New York City.
A few of the galleries Toby’s work has been displayed are: Half Gallery New York City, The Left Coast Gallery, Terrell Moore Gallery, Burbank Creative Arts Center, The Slutsky Gallery, The Coffee fix, and Venice Art Gallery
Contact Toby Salkin: firstname.lastname@example.org, www.tobysalkin.com, 818-888-3792
The casual abstract patterns and compositions served up by nature, moment by moment, have always attracted my attention. With this awareness, and a lifelong recreational involvement with the Southern California coast, the area where water and land meet has become a rich source of inspiration for my paintings. These paintings are an effort on my part to evoke emotions and moments easily recognized by anyone with a fondness for the shoreline.
Silk painting workshops are offered in Linda’s Topanga Canyon studio. No experience needed. See website for details: www.lindabolhuis.com
These luminous paintings are created by applying a “resist” called Gutta to a silk canvas. Concentrated fabric dyes are then applied in layers with watercolor brushes. After steaming to set the dye, the paintings have the same archival quality of light fastness as the best watercolors.
Many original paintings are available in Giclee fine art editions.