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
I’m a vegan artist living in “Sportsman’s Paradise.” For those that don’t know, that would be Louisiana. Not exactly a pleasant state nickname if you are a vegan. Nevertheless, I’ve managed to live a vegan lifestyle here and have even made a niche for myself as an artist. And I actually like living here… though I could do without the humidity. So how is this possible, you may ask.
For starters, being a vegan, environmental artist is no harder than any other artist. Art is supposed to make a statement, and it’s not going to be something everyone necessarily agrees with. So the fact that my work is influenced by my personal beliefs, is not any different than any other artist creating work about what matters most to them. And galleries are choosy about what they show regardless, so again, it doesn’t matter if you’re a vegan artist or not.
Louisiana is known for it’s food, unfortunately none of that involves tofu. Yet. So, yes, that is bothersome for me, but it doesn’t stop me from living here. If anything, it just gives me more reason to keep doing what I do. Add to that the BP oil spill, hurricanes, and wetland loss, I have even more reason to be here and speak up for our animals and our environment.
I have met some resistance, but I don’t know any vegan that hasn’t, so I wouldn’t say that’s exclusive to Louisiana. Usually it comes from older family members that have no filter. A lot of people seem to be coming around, while others tolerate it but don’t understand it. I’ve been a vegan for 17 years now and have seen a definite shift in the mindset of the general population. For starters, most people now know how to correctly pronounce vegan and might know someone that is. A lot are open to at least trying vegan recipes. (Everyone loves my dinner parties!) And some are starting to become aware of the huge environmental impact that factory farming has on our planet.
Overall, I’ve had a very positive response to my art, both in and outside of Louisiana, which is promising for many reasons. I would love to see more vegans here, but I’m sure a lot of people would say the same about where they live, too. In the meantime, I’m going to keep doing what I do. With every painting, I have another opportunity to reach out to the world, and inspire them to do more for animals and the planet. And on that note, it’s time to get back to the studio.
I’ve just finished a new small painting from my In Our Veins series. The title is Emanate and it is an acrylic on canvas, 4 inches by 4 inches. The white deer and roses represent a connection to nature, their similar color palette further emphasizing that connection.
This one is currently on hold, but there are a few small paintings left:
I came across an article- “What’s So Contemporary About Hieronymus Bosch’s Apocalyptic Visions?”- about one of my favorite artists of all time, Hieronymus Bosch. The idea that his work is still relevant today is nothing new to me, seeing as I’m such a fan. Not to mention my own penchant for surreal imagery and human-animal hybrids. Even if you are new to Bosch’s work, you cannot help but notice the parallels between his art from the 15th century and the world of today.
As writer Dean Kissick states, “Hieronymus Bosch shows us not how scary the world is, but how ridiculous. The reason his paintings of heaven and hell appear so relevant today is because we are now living in them, and the boundaries between people, animals, and objects really are falling apart: 2016 is a world of avatars and branded mascots, a place with robotic household appliances that talk to us, and an internet of things, with human ears growing out the back of mice, and otherkin teenagers dressing up as their animal forms. Thousands of writhing naked bodies are only a couple clicks away, and most of our perverse fantasies have been visualised somewhere, even those involving octopuses and vibrators. The field really does have eyes and so much of what happens in the world is captured on video, from the coral reef’s weirdest creatures, to the orgiastic sex tapes of the super-wealthy, to the scenes of bloody massacres; on our illuminated screens, as in Bosch’s triptychs, scenes of horror intermingle with others of joy, so close to one another, and this complexity and contrariness seems the very essence of the present-day experience.”
A couple of photos of my latest painting in progress. This will be part of my In Our Veins series. The first rough layer of paint has been added, and I’m currently working on building the layers of color and detail to the ocean water. It is an acrylic on canvas, 10″ wide by 20″ high. More details soon!