This is a 30-second clip from my Artist Talk at LeMieux Galleries in New Orleans. No matter how many times I have to speak in public, it’s always terrifying. Which is why I often think that the things I don’t want to do, are probably the things that I should do. Side note: this Saturday (Sept. 24th) is the last day to catch this exhibit!
This week is the last week of my exhibit at LeMieux Galleries in New Orleans. My series, In Our Veins, is on view in the Main Gallery of LeMieux now through September 24th. You can also catch Lee Deigaard’s series, Near and Far.
I’ve had some great response to this body of work, including a feature in American Art Collector Magazine’s September 2016 issue. And Paul Bentley of the New Orleans magazine, Where Y’At, gave me a great review stating: “…Her dreamlike landscapes with animal, human, and natural forms mixing and dancing with each other create beautiful images that seem to be more than just a mere neo-surrealist tribute to Dali or O’Keefe. Her paintings create a dialogue with her obvious predecessors and influences, but they retain an original, calming, eerie, and downright intelligent attitude to them.”
More information on this exhibit can be found on LeMieux’s website.
My painting Preservation is featured on the current cover of the Denver Quarterly. Aside from being on the cover, I’m also happy to have another opportunity to get the message out regarding animal and ecological welfare. The circle of leaves was an image that came to mind before falling asleep, and I made note of it in my sketchbook. Using the leaves to replace the head (which is in keeping with some recent paintings where I use landscapes or trees in place of heads), represents the connection of all life forms. Nature is so much a part of us that I freely use trees or landscapes in place of heads or limbs, just to emphasize that connection and significance.
The small lot of land the deer stands on is in reference to our dire need to conserve wild land and forests. The natural space is shrinking due to deforestation. All the more reason to plant trees and support organizations that preserve natural habitats.
In many of my paintings, I use the eyes and facial expressions of animals to convey a sense of connection and relatability, but lately I’ve been doing the opposite and feature animals without faces or covered faces. I’ve been exploring the idea of Anonymity vs. Connection- without seeing their faces, does that make them any less personable or meaningful? And how does this apply on a global scale?
I’m honored to announce that American Art Collector Magazine has done a feature on my current exhibition at LeMieux Galleries in New Orleans. The article is in their September 2016 issue which is available on newsstands now.
As part of my current exhibition at LeMieux Galleries in New Orleans, LA, I’ll be giving an Artist Talk with photographer Lee Deigaard on September 3d. We’ll each be discussing our works- my In Our Veins series and Lee’s Near and Far series. The talk begins at 5pm (an hour before the Artwalk) and the gallery reception will follow from 6-9pm.
I was invited to create a piece for the upcoming Coaster Show at La Luz de Jesus Gallery in Los Angeles, California. The title is Origin, and it is an acrylic on cardstock, 4″ tondo. The show opens September 2nd, from 8-11pm and will remain up through October 2nd. View the painting online here: http://laluzdejesus.com/the-4th-annual-coaster-show-mark-todd/origin/.
Well, this is it. This is the last time Mother Nature will be on view to the public. It is currently on exhibit in the “Animus” exhibit in London, and afterwards will have its permanent home in London. This painting has been an important piece for me since it is the only painting I’ve done directly dealing with dairy:
Our use of animals and the environment has led to practices that could be considered a bizarre perversion of nature. From our everyday use to the most complex scientific discoveries, we have created a new world far removed from that of our original planet. Our food is no longer something we grow or find ourselves, but prepackaged, processed, and mass-produced. ‘Natural’ has become unnatural. We consider it eccentric or bohemian. We, as adults, drink what is essentially breast milk from an entirely different species, yet scoff at the idea of a woman breastfeeding her infant in public. In Mother Nature a calf is seen nursing from a human breast, calling to question our double standards- if this is bizarre, then why is it not when the roles are reversed?
The opening for my 2-person exhibition with photographer Lee Deigaard will be this weekend at LeMieux Galleries in New Orleans. The event takes place during White Linen Night on Saturday, August 6th, from 5:30-9:30pm. Recent paintings from my In Our Veins series will be on exhibit in the Main Gallery through September 24th.
I’ve finally finished my large painting as well as a couple of smaller pieces. All three are the latest in my In Our Veins series. The first is titled On the Rise and is an acrylic on canvas, 10″ wide by 20″ high. This piece was created in an effort to raise awareness of the plight of animals in the Arctic. Next is Arise, also an acrylic on canvas, 6″ by 6″ square. The skull serves as a landscape for wild horses, linking humans and animals. Lastly is the latest addition to the smaller paintings, Stem, which is 4″ by 4.” The deer wears a wreath of roses, representing their connection to each other and all of nature. View all three paintings online here: On the Rise, Arise, and Stem.
There are still prints available of my painting, Everything’s Coming Up Roses– the first (and only) time this painting is available as a print. This is a limited edition series of 50 giclée prints, signed and numbered (as you can see above). Each giclée is 100% cotton rag, Acid-free, archival, 230 gsm paper, 14″ wide by 11″ high for $50. View the painting and purchase: http://amyguidry.com/everythings_roses.html